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VICTORIA AND ALBERT MUSEUM.

DEPARTMENT OF CERAMICS.

CATALOGUE OF THE SCHREIBER

COLLECTION OF ENGLISH PORCELAIN

EARTHENWARE ENAMELS ETC.

VOLUME I.— PORCELAIN.
BY

BERNARD RACKHAM.

PRICE TWO SHILLINGS AND SIXPENCE.

Presented to the

LIBRARY of the

UNIVERSITY OF TORONTO

Mrs. Stella Langdon

VICTORIA AND ALBERT MUSEUM.
CATALOGUE OF

THE SCHREIBER COLLECTION.

VOLUME I.— PORCELAIN.

' Publication No. io6 C.

First printed January 19 15.

VICTORIA AND ALBERT MUSEUM.
DEPARTMENT OE CERAMICS.

CATALOGUE OF ENGLISH PORCELAIN
EARTHENWARE ENAMELS ETC.

COLLECTED BY CHARLES SCHREIBER, Esq., M.P., AND
THE LADY CHARLOTTE ELIZABETH SCHREIBER
AND PRESENTED TO THE MUSEUM IN 1884.

VOLUME I.— PORCELAIN.

BERNARD RACKHAM.

• <t * •

LONDON : PUBLISHED UNDER THE AUTHORITY OF
HIS MAJESTY'S STATIONERY OFFICE, 1915.

Crown Copyright Reserved.

\ (11)19259 \Vt 20633— 1-in 2000 2/15 K&S

PREFATORY NOTE.

THE Rreat advance made in the study of English pottery and kindred
arts since the publication of the original Catalogue of the Schreiber
Collection in 1885 has rendered necessary a considerable expansion
as well as revision of the material. The catalogue has consequently been
divided into three parts dealing respectively with the porcelain ; the
earthenware, stoneware, etc. ; and the glass and enamels. The present
volume— the first— comprises the objects numbered from i to 817 in the
original catalogue, with five additional pieces received from Lady Charlotte
Schreiber in 1889; the second will comprise Xos. 818 to 1372, together
with 17 additional examples; and the third will comprise Nos. 1373
to 181 3. The second and third volumes are now in preparation and
will be published as soon as possible. The preface to the original
catalogue by Lady Charlotte Schreiber, giving a brief account of the
formation of the collection, is reprinted on page vii below.

This catalogue has been prepared by Mr. Bernard Rackham, Assistant
Keeper of the Department of Ceramics. The thanks of the Board are
due to many friends of the Museum for information given and facilities
afforded to him. Among these are Sir Hercules Read, Mr. R. L. Hobson,
and Mr. A. M. Hind, of the British Museum; Mr. A. J. Toppin, of the
National Museum of Science and Art, Dublin, Mr. Richard Quick, of the
Bristol Museum and Art Gallery, Mr. P. Entwistle, of the Free Public
Museums, Liverpool, and Mr. B". Howard Cunnington, of the Wiltshire
Archaeological and Natural History Society; M. G. Papillon and
M. G. Lechevallier-Chevignard, of the Manufacture Nationale, Sevres;
and Mr. Roland H. Ley.

CECIL SMITH.

Victoria and Albert Museum,
January 1915.

NOTE.

RECENT researches have resulted in a wider and more exact know-
ledge of the history of the various English porcelain factories and
of the nature of their productions than was possible in 1885,
when the original catalogue was published, and changes of attribution
have consequently been found necessary in many instances. Every item
in the collection is cited in the order given in that catalogue, and where
a change of attribution has been made, a cross-reference is given to the
section under which the full description appears, the original numbering
having been retained. The numbers in brackets following the descrip-
tion of certain of the marks refer to the reproductions of marks on
Plates 93-96.

New information has been provided concerning the sources of design
from which modellers and enamellers derived inspiration for their work,
and further critical material has been added in the form of references to
literature in which questions of provenance are discussed. Wherever
possible, the sources from which the objects were obtained by the donors
are stated by quotations from Lady Charlotte Schreiber's Journals, edited
by Montague J. Guest (London, igii). Illustrations of the objects in
this and other publications are also cited.

Finally, the opportunity has been taken of amplifying the descriptions
of the objects, correcting some minor inaccuracies, and increasing the
usefulness of the work by the provision of numerous illustrations. The
works to which reference is made in the text are recorded in a
bibliographical list.

BERNARD RACKHAM.

PREFACE TO THE ORIGINAL CATALOGUE.

THE Collection, of which this is a catalogue, was commenced at
the end of 1865, at a time when examples of English Porcelain
and Earthenware were less studied and appreciated than is now the
case. The aim in its formation was to bring together objects typical
of English Ceramic Art, and not merely such as were conspicuous for
their beauty or variety. Accordingly specimens of our principal manu-
factories will be found included in it. Of late years increasing attention
has been paid to the products, no less than to the history, of these
factories. Old and unknown collections have been brought to light,
and the Art of the Potter has been the subject of careful and critical
inquiry ; the Marks employed have been classified, and the dates and
names of those under whom the several establishments rose to fame,
as well as those of many of the able hands whom they employed, have
been duly recorded ; nor is it too much to say that the works of our
ceramic artists are now acknowledged to stand on an equality with
those of France, Italy and Germany.

Since the commencement of our researches several interesting
incidents have occurred which have added to our information on these
subjects.

In 1868 the extensive operations carried on by Messrs. Bryant and
May laid open the foundations of the celebrated Porcelain Works at
Ijow. In the debris were found fragments of the manufacture in all
its stages, together with some of the moulds actually used, thus
enabling many pieces to be assigned to that factory which had pre-
viously been undetermined. We assisted at some of these excavations,
and several of the specimens we ourselves disinterred were given to us
by the proprietors, and are included in this Collection.

We had the opportunity in 1869 of purchasmg the memorandum
books of John Bowcocke, w ho was employed in the Bow Works in the
beginning of the second half of the last century. In them we found
some curious details. Large extracts from these books are given in
the third edition of Chaffer's " Marks and Monograms."

We were fortunate enough in 1870 to be present when Mr. Bailey,
the proprietor of the Fulham Works, made a search, at our instance.

viii PREFACE.

among the old ledgers in his office, and discovered the valuable note-
books of Dwight himself, containing his recipes for making " white
transparent porcelaine," " marbled porcellane," etc., bearing dates of from
1689 to 1698.

Mr. Bailey presented us with some specimens which had been found
in the oft-cited " Walled-up Chamber " at Fulham, which w^ere supposed
to have remained there undisturbed since the time of Dwight.

In the course of frequent journeys, both in the United Kingdom
and on the Continent, including Spain and Sweden, we had many
opportunities of finding remarkable specimens. But the most valuable
addition we ever made, at one time, to the Collection was in the
autumn of 1868, when we visited Kingsbridge and acquired all the
Bristol and Plymouth Porcelain which had descended from Cookworthy
himself to his relations, Mr. Prideaux, Miss Tregellis, and Miss Fox,
and which they willingly ceded to us with the hope that they w-ould
not be dispersed.

Whatever interest the Collection now offered to the public may
possess, rests upon the claim to represent by examples the growth of
English Ceramic Art. The work of its formation has been a labour of
love, and its object seems best attained by placing it where it will be
of the greatest use by being preserved in its entirety, in which its
main value consists. And I can most heartily endorse the sentiments
expressed, on a similar occasion, by the late Mr. Sheepshanks (and
quoted to me by Sir Henry Cole the last time I had the pleasure of
seeing him, shortly before his death) when he said that he " felt like
an anxious parent, grateful to see his children happily settled in his
lifetime."

In order the better to point out the sources from which the deco-
ration of some of the specimens was derived, a few^ engravings and
photographs have been added to the Collection.

To conclude, — it was said of Horace Walpole that he " could
throw spirit into a Catalogue." Nothing of that kind has been aimed
at in the present case, and the simplest matter-of-fact description has
been adhered to ; but it has been thought that an occasional note,
referring to incidents or customs of the period, as illustrated by objects
in the Collection, might not be without interest, and such have been
introduced accordingly.

Very warm acknowledgments are offered to our kind and gifted
friend, Mr. A. W. Franks, for the untiring patience he has bestowed
on the arrangement of the Marks and the general supervision of the

PREFACE. ix

catalogue ; and the best thanks are rendered, amongst others, to Mr.
Soden Smith and Mr. A. H. Church, the accompHshed author of the
" Handbook of EngHsh Pottery," to whose kindness we owe the valuable
introductory remarks at the head of each Section, which no one could
with more authority supply. We are also indebted to Mr. C. H. Read
for kindly drawing the Marks for engraving. The index is due to the
industry of my grand-daughter Alice Du Cane.

C. E. S.

Langham House,

1884.

CONTENTS.

PAGE

List of Plates --------- xii

BiBI.IOGRAPIIY --....._. XV

Introduction ...--.-.. i

I. Bow ---------- 4

§ I. Statuettes and groups, coloured - - - - • 7

§2. Figures of animals and birds, coloured - - - -13

§ 3. Statuettes and figures, white - ... - 14

§4. Vases and ornamental pieces, coloured - - - - 16

§5. Pieces for domestic use, coloured - - - - 18

§ 6. Pieces for domestic use, white ----- 27

II. Chelsea --------- 29

§ I. Statuettes and busts, white - - - - -31

§ 2. Pieces for domestic use, white - - - - "33

§ 3. Statuettes and groups, coloured ----- 34

§ 4. Figures of animals and birds, coloured - - - - 40

§ 5. Vases and ornamental pieces, coloured - - - - 43

§ 5. Chelsea toys ------- 47

§ 7. Pieces for domestic use, coloured - - - - 54

III. Chelsea-Derby - - - - - - - - 65

§ I. Statuettes and busts, coloured - - - - - 66

§ 2. Figures in unglazed biscuit porcelain - - - - 71

§ 3. Vases and ornamental pieces - - - - - 71

§ 4. Pieces for domestic use ------ 73

IV. Derby --..-..-- 76

§ I. Vases .-..---- 77

§ 2. Pieces for domestic use ------ 77

V. Worcester --------- 81

§ I. Vases and ornamental pieces - - - - 84

§ 2. Pieces for domestic use - - - - - 88

VI. LoNGTON Hall - - - - - - - - 119

§ I. Statuettes and groups - - - - - - 120

§2. Vases and pieces for domestic use .... 121

CONTENTS. xi

PAGE

\'II. Plymouth - ------- - 123

§ I. Statuettes and groups - - - - - - 124

§ 2. Figures of animals and birds ----- 126

§3. Vases and decorative pieces ----- 127

§4. Pieces for domestic use - - - - - 129

VIII. Bristol - - - - - - - - - i33

§ I. Statuettes and groups - - - - - • i35

§ 2. Vases and decorative pieces - - - - ■ ^39

§ 3. Pieces for domestic use ------ 140

IX. C.\UGHLEY --------- 149

X. Liverpool --------- 151

XI. Staffordshire Porcelain of the iqth Century - - - 153

§ I. Longport -------- 153

§2. Stoke-upon-Trent (Spode) - - - ■ -153

§ 3. Stoke-upon-Trent (Minton) . - - - - 154

§4. Hanley -------- i55

§5. Staffordshire (manufacture uncertain) - - - - 155

XII. SwiNTON (Rockingham Works) - - - - - - 156

XIII. Lowestoft ..------ 158

XIV. Nantgarw -■.------- 161

XV. Swansea --------- 163

XVI. Coalport -,-------- 164

XVII. English Porcelain of uncertain origin . - - - 164

XVIII. Chinese Porcelain decorated in England - - - - 165

§ I. Decorated at Bow - - - - - - 165

§ 2. Decorated at Chelsea ------ 165

§ 3. Decorated at Worcester - - - 166

XIX. German (Meissen) Porcelain decorated in England - - - 167

XX. Chinese Porcelain ------- 168

XXI. French (S£vres) Porcelain ..---- i6g

Index ..-------- 170

LIST OF PLATES.

1. Bow: Coloured figures. ,\

2. Bow : Coloured figures. j

3. Bow: Britannia with a medallion of George II. j

4. Bow : General Wolfe and the Marquis of Granby. I

5. Bow : Boys playing drum and fife. j

6. Bow : Figures and pot-pourri bowl. 1

7. Bow : Gardener emblematical of Autumn. '

8. Bow : Woodward and Kitty Clive. ■ i
g. Bow : White figures, etc.

10. Bow : King Lear.

11. Bow: White figures; King of Prussia tea-pot.

12. Bow: Vase and plates.

13. Bow : Coloured pieces. '

14. Chelsea : White pieces. ]

15. Chelsea : Figure of a nurse. ]

16. Chelsea: Hercules and Omphale, after Lemoyne. i

17. Chelsea : Chinaman and boy. ■

18. Chelsea : Coloured figures.

19. Chelsea : Coloured figures.

20. Chelsea : Leda and the Swan.

21. Chelsea: Coloured figures. j

22. Chelsea : Dances after Watteau ; group after Vanloo. j

23. Chelsea : Figure of a reaper.

24. Chelsea : The Music Lesson, by Roubiliac after Boucher. (Frontispiece.;

25. Chelsea : The Seasons, by Roubiliac. i

26. Chelsea : Actor. ;

27. Chelsea : Lord Chatham.

28. Chelsea : Figures of Birds.

29. Chelsea : Vase, Japanese style. j

30. Chelsea : Vase, claret-coloured ground.

31. Chelsea: Vases and candlesticks.

32. Chelsea : Scent-bottles and bonbonnieres. '

33. Chelsea : Scent-bottles, bonbonnieres and patch-boxes.

34. Chelsea : Tureen and other coloured pieces. 1

LIST OF PLATES. xiii

35. Chelsea : Pieces for domestic use.

36. Chelsea : Dishes and cups.

37. Chelsea : Dish with claret-coloured rim.

38. Chelsea : Pieces for domestic use.

39. Chelsea : Plate with view of Chelsea church ; Plate from the Mecklenburg-

Strelitz service.

40. Chelsea- Derby : Coloured figures and groups.

41. Chelsea- Derby: Coloured figures and groups.

42. Chelsea- Derbv: La Bergere des Alpes ; Le Nceiid de Cravate (after T^oucher).

43. Chelsea- Derby : Pensem-ils au Raisin? (after Boucher).

44. Chelsea-Derby : Biscuit group -Minerva crowning Constancy and Hercules

killing the Hydra.

45. Chelsea-Derby : Vases and domestic pieces.

46. Chelsea- Derby : Bowl with arms of the Coopers' Company.

47. Chelsea- Derby : Heart-shaped dish.

48. Chelsea- Derby and Derby : \^ases and domestic pieces.

49. Derby : Jug and plate.

50. Worcester : Vase, blue scale-pattern.

51. Worcester : Vase with applied masks and flowers.

52. Worcester : Vases and jug.

53. Worcester : Vase painted in blue.

54. Worcester : Jug with hunting scene.

55. Worcester : Pieces in Oriental style.

56. Worcester : Pieces with printed decoration.

57. Worcester : Vase, jug ^nd coffee-pot, printed m black.

58. Worcester : Pieces with printed decoration.

59. Worcester : Pieces with printed decoration.

60. Worcester : Jugs and plates.

61. Worcester: Pieces for domestic use.

62. Worcester : Pieces for domestic use.

63. Worcester : Pieces for domestic use.

64. Worcester : Vases and other pieces chiefly with decoration on a coloured ground.

65. Worcester : Pieces for domestic use.

66. Worcester: Mug dated 1770; tea-pot in Sevres style.

67. Worcester : Tea-pots in Japanese style.

(Worcester (Chamberlains) : Plate with sporting subject.
(Longton Hall : Tea-pot.
69. Longton Hall : Figures and group.

xiv LIST OF PLATES.

70. Longton Hall: Figures, vases and domestic pieces.

71. Longton Hall: Vase with applied figures and flowers.

72. Plymouth : Asia and America.
(Plymouth : Candlesticks with figures.

''I Bristol : Shepherd and Shepherdess.

74. Plymouth : Figures and domestic pieces.

75. Plymouth : Figures, vases and tea-pots.

76. Plymouth : Garniture of vases.

77. Bristol : Group — -Venus and Adonis, and figures.

78. Bristol : Children as Seasons — Summer and Autumn.

79. Bristol : Children as Seasons — Spring and Winter ; classical figures as Seasons —

Spring and Winter.

80. Bristol : Classical figures as Seasons — Summer and Autumn.

81. Bristol: Figures, biscuit plaque and domestic pieces.

82. Bristol : Hexagonal vase painted with birds.

83. Bristol : Soft-paste mug and sauceboat.

84. Bristol or Plymouth : Tea-pot with blue ground.
(Bristol: Plate with ribbon border.

(Swinton (Rockingham Works) : Plate, Chinese style.
86. Caughley : Jug with monogram " SB."

(Caughley : Jugs and mug.
(Liverpool :

(Liverpool : Mugs and cup and saucer.

88. Stoke-upon-Trent : Spode vase and Minton beaker.

89. Lowestoft : Pieces for domestic use.
(Lowestoft : Tea-poy and mug.

(English porcelain of uncertain origin. Jug dated 1792.

91. Nantgarw and Swansea.

92. Chinese and German porcelain decorated in England.

93. Marks, Nos. 1-28, Bow, Chelsea and Chelsea-Derby.

94. Marks, Nos. 29-50, Derby, Longton Hall and Worcester.

95. Marks, Nos. 51-73, Plymouth and Bristol.

96. Marks, Nos. 74-S8, Miscellaneous.

BIBLIOGRAPHY.

List of Works to which reference is made in tlie Catalogue and of
other Authorities consulted.

Note. — The abbreviated titles by which some of these books are cited in the text are added
ill brackets after the full titles.

Archaeological Journal, The, vol. xix., 1S62,— A. Wollaston Franks, Notes on the

Manufacture of Porcelain at Chelsea.
Artist's Vade Mecum, The, being the whole art of drawing taught in a new

work, elegantly engraved on one hundred folio copper plates. 3rd edition.

London. Printed for R. Sayer and J. Bennett, 1776.
Ballantyne, a. Randal, Robert Hancock and his Works. London, 1885.

(Ballantyne.)
Bemrose, William, Bow, Chelsea and Derby Porcelain. London, i8g8.
Bemrose, William, Longton Hall Porcelain. London, 1906.
Berlin, Ausstellung Friedrich der Grosse in der Kunst veranstaltet von der

Koniglichen Akademie der Kiinste zu Berlin, 1912.
Berling, K., Das Meissner Porzellan und seine Geschichte. Leipzig, igoo.
BiNNS, R. W., A Century of Potting in the City of Worcester. London and

Worcester, 1865. (Binns, Century of Potting.)
BiNNS, W. MooRE, The First Century of English Porcelain. London, 1906.
Bourgeois, Emile, Le Biscuit de Sevres au XVIIP siecle. Paris, 1909.
Bourgeois, £mile, and Georges Lechevallier-Chevignaro, Le Biscuit de Sevres,

Recueil des Modeles de la Manufacture de Sevres au XVIII'' Siecle. Paris, n.d
BuFFENOiR, HippoLYTE, Lcs Portraits de J. -J. Rousseau. Paris, 1913.
Burlington Magazine, The, vol. vi., 1904-5 — John Hodgkin, Transfer Printing on

Pottery; vol. xx., 1912 — R. L. Hobson, Bristol Porcelain in the Trapnell Collec-
tion ; and vol. xxv., 1914 — Bernard Rackhani, The Chronology of Bow Porcelain ;

Contributions to the Study of English Porcelain.
Burton, William, A History and Description of English Porcelain. London, 1902.

(Burton, English Porcelain.)
Burton, William, Porcelain : Its Nature, .'\rt and Manufacture. London, 1906.

(Burton, Porcelain.)
Bushell, S. W., Chinese Art (Victoria and .Mbert Museum Handbooks), vol. ii.

London, 1910.

xvi BIBLIOGRAPHY.

BusiiELL, S. W., Oriental Ceramic Art, Collection of W. T. Walters. New York,

1899.
Century Magazink, The, New Series, vol. xxxiii., 1898 — P. L. Ford, Portraits of

General Wolfe.
Chaffers, W'illiam, Marks and Monograms on European and Oriental Pottery

and Porcelain, edited by Frederick Litchfield. 13th edition. London, 1912.

(Chaffers, Marks and Monograms.)
Chaffers, William, The Keramic Gallery, 2nd edition, revised by H. M. Cundall.

London, 1907. (Chaffers.)
Chancellor, E. B., The Lives of the British Sculptors and those who have worked

in England, from the earliest days to Sir Francis Chantrey. London, 1911.
Church, Sir Arthur H., K.C.V.O., F.R.S., English Porcelain (Victoria and Albert

Museum Handbooks). London, 1904. (Church.)
Coke, John Talbot, Coke of Trusley in the County of Derby. London, 1880.
Connoisseur, The, vol. v., 1903 — The Recent Discovery of Lowestoft Moulds ; and

vol. xxvi., 1910 — Bernard Rackham, Longton Hall or Chelsea ?
Delange, H., Monographie de I'CEuvre de Bernard Palissy. Paris, 1862.
Dillon, Edward, Porcelain and how to collect it. London, 1910. (Dillon, 1910.)
Dillon, Edward, Porcelain (The Connoisseur's Library). London, 1904. (Dillon,

1904.)
Doenges, Willy, Meissner Porzellan, seine Geschichte und kiinstlerische Entwickel-

ung. Berlin, 1907.
Dublin — Museum Bulletin, National Museum of Science and Art, Dublin, vol. ii.

Dublin, 1912. (Bulletin.)
Emden, — Sammlung Hermann Emden, Hamburg, Erster Tail. Berlin, 1908.
Entwistle, p., Sept-Centenary Anniversary, Liverpool, 1907. Catalogue of Liverpool

Pottery and Porcelain. Liverpool, 1907.
Essex Review, The, vol. xx., 1911, — H. W. Lewer, Thomas Frye and Bow China;

and vol. xxi., 1912 — Frank Stevens, The Bow China Factory and its Story.
Fischer, — Katalog der Sammlung Alt-Meissner Porzellan des Herrn Rentners

C. H. Fischer in Dresden [with preface by O. von Falke]. Cologne, 1906.
Folnesics, J., Die Wiener-Porzellan Sammlung Karl Mayer, Vienna, 1914. (Folnesics,

Sammlung Karl Mayer.)
Garnier, £douard, Histoire de la Ceramique. Tours, 1882.
G.^iTTY, Charles T., The Liverpool Potteries. Liverpool, 1882.
Gerhardt, — Sammlung Gustav von Gerhardt, Budapest, I. Kunstgewerbe. Berlin,

1911.
GiBB, William, and Bernard Rackham, A Book of Porcelain. London, 1910.

(Gibb and Rackham.)
Haslem, John, The Old Derby China Factory. London, 1876.
Hirth, Georg, Deutsch Tanagra. Porzellanfiguren des achtzehnten Jahrhunderts.

Munich, 1898.

P.IBLIOGRAPHY. xvii

HoBSDN, R. L., British Museum. A Guidi' to the Englisii Pottery and Porcchiin in

the Department of British and Mediaeval Antiquities. 2nd edition. London,

1910. (Hobson, Guide to English Pottery.)
IloBSON, R. L., Catalogue of the Collection of English Porcelain in the Department

of British and Mediaeval Antiquities and Ethnography in the British Museum.

London, 1905. (Hobson, Catalogue.)
HoBSox, R. L., Worcester Porcelain. London, 1910.

Hodgson-, Mrs. Wii.loughby, Old English China. London, 1913. (Mrs. Hodgson.)
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Stuttgart, 1879.
Jiiwnr, Llewellynn', The Ceramic Art of Great Britain. London, 1878. (Jewitt.)
KipsoN", Joseph R. and FiiAXK, Historical Notices of ihe Leeds Old Potter}-.

Leeds, 1892.
Ladies' Amusement, The, or the whole Art of Japanning made easy, 2nd edition.

London, printed for Robert Sajer, n.d. ■■
Lechi-:vallier-Chevign.a.rd, Georges, La Manufacture de Porcelaine de Sevres. Paris,

1908. (Lechevallier-Chevignard, Sevres.)
Mantz, Paul, Franq-ois Boucher, Lemoyao et Natoire. Paris, 1880. (Mantz,

Boucher.)
Marryat, Joseph, A History of Pottery and Porcelain, Mediaeval and Modern :

^rd edition. London, 1868. (Marryat.)
MvYER, Joseph, History of the Art of Pottery in Liverpool. Liverpool, 1855.
Meissen, Festive Publication to commemorate the 200th Jubilee of the oldest European

China Factory, Meissen. Dresden, 191 1. (Meissen, Festive Publication.)
Meissen, Koniglich Sachsische Porzellan-Manufactur zu Meissen [Ali)um].
Meteyard, Eliza, The Life of Josiah Wedgwood. London, 1865.
Mew, Egan, Old Bow China. London, 1909. (Mew.)
Michel, Andre, Francois Boucher. Paris, 1906.
Museum Bulletin, National Museum of Science and .\rt, Dublin, vol. ii. Dublin,

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* Tim tliird editJon uf iliis work is ndvcrlised in llie llnr<l edition, dated iyj6, o{ The Artist's \'(idc-mecum.
X 1!I2.V.| A

xviii r.i]'.Licx;ii.\i'iiY.

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1913-
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Oramics and Antiques throughout Britain, France, Holland, Belgium, Spain,

Portugal, Turkey, Austria and Germany from the year 1869 to 1885, ediied

by her son Montague J. Guest. London and New York, igii. (Journals.)
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Smith, J. T., XoUekens and his Times. 2nd edition. London, 1829.
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(Solon.)
SoLON, ^L L., .-\. History and Description of tlie old French Faience. London, 1903.
Spelman, W. \\'. R., Lowestoft China. London and Norwich, 1905.
Troude, a., Choix de Modeles de la Manufacture Nationale de Porcelaines de

Sevres appartenant au Musee Ceramique. Paris, 1897 (Troude, Choix d6

Modeles).
TuRXER, William, The Ceramics of Swansea and Nantgarw. London, 1897.
Victoria History of the County of Middlesex, The, vol. ii., London, igii —

Charles Welch, Industries.
Wanner-Brandt, Otto, Album der Erzeugnisse der ehemaligen wiirttembergischen

Manufaktur .'MtT.udvvigsburg. Stuttgart, igo6.
Wedgwood, — Letters of Josiah Wedgwood, 1762-1780. Privately printed, London,

1903.

CATALOGUE

OF THE

SCHREIBER COLLECTION.

VOLUME I.— ENGLISH PORCELAIN.

INTRODUCTION.

THE porcelain in the Sclireiber Collection belongs for the most part
to the 1 8th century, the period in which the manufacture was
established and reached its highest level of artistic attainment
in England. The collection contains characteristic specimens, covering
a wide range of style and technique, from all the earlier English
factories of importance. The porcelain of the early igth century,
relatively of minor artistic interest, is also represented by a few selected
examples.

The porcelain bodies produced by the English factories show great
\arietv of composition,^ but with few exceptions belong to the class of
" soft paste " or "artificial" porcelain, differing from their prototype,
the "hard paste" or "true" porcelain of the Far East, in the sub-
stitution of an artificial glassy material known as " frit " for the
fusible natural rock which is an essential ingredient of the latter.
"Soft paste" is fired at a much lower temperature than "hard paste";
the former can be more or less easily cut with steel instruments, whilst
tliev will make no impression upon the latter. The porcelains made
at P)Ow, Chelsea, Derby, Longlon Hall, Lowestoft, and Caughley all
belong to the class of "soft paste" ; that of Worcester (in the iSth century)
is of similar composition, modified by the addition of soapstone (steatite)
to the constituents. "Hard paste" was made only at Plymouth and
Bristol, and perhaps for a short time at New Hall in Staffordshire,
after the transfer to that place of the Bristol establishment.

About the end of the i8th century, as a result of experiments
made in Staffordshire by the second Josiah Spode, with which perhaps

2 INTRODUCTION.

those of Martin Barr of Worcester were on parallel lines, a new porce-
lain body was invented in which the essential ingredients of hard
porcelain, china-stone (petuntse) and china-clay (kaolin) were combined
with bone-ash. The new composition was soon generally adopted, and
remains at the present time the standard English porcelain body.

Painting is the most usual method of decorating English porcelain.
The colours are always applied over the glaze, with the important
exception of cobalt-blue, which in all but a few instances is used as
an underglaze pigment. Printing on porcelain is an English invention
adopted most extensively at Worcester, though most of the early
factories appear to have made experiments with this process. The
printed designs were applied at first over the glaze in various colours ;
printing in underglaze blue was introduced at a slightly later date.
At Chelsea and Derby statuettes were made in biscuit porcelain, that
is, without the addition of glaze or enamelling.

Very few of the compositions of English porcelain painters and
figure-modellers are of an original character ; their designs were borrowed
from various sources. Much of their work is in direct imitation of
Chinese and Japanese porcelain, or that of Continental factories, parti-
cularly Meissen and Sevres. In other cases designs may be traced to
engravings, either after the contemporary masters of painting, especially
of the French school, or from the compositions of the decorative designers
(ornemanistes) of the period, such as Jean Pillement. Designs of the latter
class were published by Robert Sayer and others in contemporary albums
of prints under such titles as The Artist's Vade-mecum, The Draughtsman s
Assistant, and The Ladies' Amusement or Whole Art of Japanning made
casy.^

The earliest manui'acturc of ]:)orcelain in England is of relatively
late date as compared with that in Italy, France and Germany. In
Italy successful attempts were made to imitate Chinese porcelain towards
the end of the i6th century, whereas it was not till about the middle
of the 1 8th century that the manufacture appeared in England.
Several factories came into existence about that time, but the exact
date of the earliest English production of porcelain is unknown. The
earliest date recorded on extant pieces, 1745, occurs on two milk-jugs
made at Chelsea, one of which is in the British Museum ; it is not
known how long before that date the factory was opened. The Bow
factory may be said to have been founded in 1744, that at Worcester

' A copy of the last-named work, purchased at the sale of the Merton Thorns
Collection, is iu the Library of the Museum.

INTRODUCTION'. • 3

in 1751. Another was in existence at Bristol in 1750, whilst those at
Derbv, Longton Hall, and Lowestoft were established within a few-
years' of the same date. Various other early ventures in porcelain-
making, presumably of short duration, are also on record, but the
nature of their productions is unknown. The instability characteristic
of the fortunes of most of the English factories of the 1 8th century is
due to the circumstance that they were all carried on by private enter-
prise as commercial undertakings, differing in this respect from the
majority of their contemporaries on the Continent, which were con-
ducted "as adjuncts to royal or princely households subsidised out of the
revenues of their patrons.

Included with the English porcelain in the Collection are a few
specimens of Chinese and Continental origin, which throw light in
various ways on the history of the manufacture in this country. They
comprise (i) pieces made abroad and decorated in England, (2) a tea-
pot, which appears to have been the property of an English painter,
(3) pieces which have served as models to English potters.

BERNARD RACKHAM.

I._BOW.

TIIl'^ earliest evidence of the existence of a porcelain factory at Bow,
in the east of London/ is a patent dated December 6th, 1744,
taken out by Edward Heylyn and Thomas Frye, the latter an
artist whose name is well known "as a mezzotint engraver. A second
patent was taken out by Frye alone in 1748. He became manager of
the works, and remained in that position till 1759, three years before
his death. Two merchants, Weatherby and John Crowther, became
partners in the ownership of the factory in 1750; the former died in
1762, the latter became bankrupt in the following year. In 1776 the
factory was bought by William Duesbury, of Derby, to which place
the models and moulds were then removed.

The patents of 1744 and 1748 indicate porcelain bodies differently
constituted. Of the earlier body, containing a kind of porcelain clay in
combination with sand and potash, no specimens can now be identi-
fied as surviving. In the later composition bone-ash and pipe-clay
were substituted for the porcelain clay, while a lead glaze was used.

The productions of Bow have been recognised mainly by means of
the following documents :— (i) The memorandum books and other papers
of John Bowcocke, clerk to the factory, some of which are preserved in
the" British Museum ; - (2) certain inkstands, two of w^hich are in the
British Museum and the Victoria and Albert Museum (No. 2864— 1 901)
respectively, inscribed with the words " Made at New Canton " f^ (3) a
bowl in the British Museum accompanied b)- a note stating that it was
made at Bow and painted by Thomas Craft ; (4) two plates in the same
museum made in 1770 for Robert Crowther, presumed to be a relative
of the partner in the firm; (5) a number of fragments and "wasters"
disinterred in 1868 on the site of the w^orks, several of wdiich form part
of the Schreiber Collection (No. 132).

With the help of these documents the specimens detailed below
mav be divided roughly into three groups. The earliest group, dating
from about 1750, exhibits a soft cream-coloured paste with a thick

1 The actual site of the factory was on the Essex side of the River Lea, in the
parish of West Ham. , ,

- Amongst these is a sheet of engravings (pi. 145,) cut out of The Ladies Amusement
(compare p. 2), and coloured by hand.

' From Bowcocke's memoranda we learn that the factory was known by this name.

BOW. 5

unctuous glaze. It includes statuettes in plain white porcelain generally
supported on a rectangular base, for the most part vigorously modelled,
but full of technical imperfections.^ Where colour has been added to
the figures the effect is rather crude ;2 the cheeks are tinted with blotches
of dry red, and a yellowish grass-green is to be noted amongst the other
pigments. Small" pieces of useful ware with pseudo-Oriental designs in
the manner of the "New Canton" inkstands, which are dated 1750 and
1 75 1, may be included in the same group.^ In this early period the
signs for Mercury* and Mars are sometimes found incised in the paste as
a mark.

The second group comprises the finest productions of the factory.
Their date is shown by the Wolfe and Granby statuettes (Nos. 5 and 6)
and the Craft bowl to" be about 1760. The paste is similar to that of
the earlier group, but less uneven : the glaze is generally of an ivory-
like smoothness, giving a rich effect to the gilding and enamel colours,
which are now used in profusion ; amongst the pigments an opaque
greyish blue and a marone purple are conspicuous. The figures are
mo"delled with great delicacy. The smaller ones generally have a round
base v/ith a funnel-like hole underneath it. For the larger ones the
characteristic Bow pedestal begins to appear, supported on four scroll-
work feet picked out with touches of purple or other colours. Some of
the figures, stamped with a B,^ are ascribed to the sculptor, John Bacon,
R.A. Others are stamped with the mark " T"," '^ which is found at a
later period on Worcester and Bristol porcelain [see pp. 83, 134) ; it is
usually regarded as the mark of a modeller named Tebo, employed by
[osiah Wedgwood in 1775,^ probably a Frenchman who altered his
name Thibaud to its phonetic form in Fnglish spelling. Many of the
figures of this date are either exact copies or adaptations of others
modelled in the Royal Saxon Manufactory at Meissen by Johann Joachim
Kaendler and othe'r artists.* A small class of figures marked by pale
colouring and faint indication of the features^ is rather doubtfully
ascribed to Bow and appears to have been made slightly later than 1760;
the hole in the base of No. 197, and the resemblance of the flower-
painting on the costumes to that on Nos. 18 and 24 are in favour of the
attribution.

' Nos. 135-137, 143-151. - Nos. 2, 2a, 4, ig, 19a, 181.

2 N()S. 37, 155, 15.5a, appear to belong to this period. ' No. 2. " No. 20.

" Nos. 5, 6, 7, ID, II, 41, 51.

Compare LcllevA of Wedgwood, ii., pp. 119, 121, 130; Burlington Magazine, xxv.,p. 108.

8 Nos, I, la, 17, 21, 25, 26, 2Q, 181, 198a. " No?. 14, 30, 197.

6 BOW.

In the decoration of "useful" wares the "partridge pattern"' and
others adaj^ted from the designs on Japanese ])orce]ain of the school of
the potter Kakiyemon were much in favour at this period, as exemplified
by the Craft bowl ^ ; other Oriental patterns are traceable rather to
Chinese porcelain of the early famille rose.- The numerous pieces
decorated with applied sprays of ^nnuis- blossom, either alone ^ or in
combination with enamel painting,'* may also be referred to this period;
examples of this type, which is copied from the Chinese white porce-
lain of Tehua, in the province of Fuchien, known among connoisseurs
as "blanc de Chine," are to be seen among the fragments found on the
site of the works. ^

Transfer printing was also employed, as at Worcester, over the glaze,
in black,"^ dull purple,^ or red ^ ; the impressions are often" indistinct.
The prints are occasionally somewhat clumsily painted over in colours.'-*
The occurrence on No. 131 of a print by Robert Hancock, who is
generally assumed ^° to have been employed till about 1756 in the
enamel works at Battersea, seems to show that some, at all events, of the
printing on Bow porcelain, may have been executed at that place.

In the later productions of I3ow, such as the Crowther plates, dated
1770, in the British Museum, and the masonic punch-bowl, dated 1768,
in this collection (No. 86), the paste is nearly opaque and the glaze
uneven, strongly tinged with blue, and frequently disfigured by black
specks. In the figures of this period ^^ a dark transparent blue takes
the place of the opaque blue of the finer figures. The four-footed
pedestal gives way to an irregular rococo-scrolled stand imitated from
the contemporary statuettes of Chelsea ; the elaborate diaper-patterns
on the drapery may be traced to the same source. In the printed wares ^^
black predominates, while the impressions are clearer and darker than
before. Where painting in underglaze blue is used, the pigment is of
duller tone than the strong vivid blue of earlier times. ^^ The marks of an
anchor with a dagger and a cross in red or brown belong to this later
period.

• Compare Nos. 68, 69, log, 127. - \os. 78, 83, 105, 114.

3 Nos. 156, 158, 162, 163, 164, 165/. ' Nos. 30, 80. » No. 132.

« Nos. 73, 74, 93. ' Nos. 59, 113, 131. " No. 71. 8 ivjos. 590, ^gfc.

1" Apparently on the evidence of an enamel watch-back, bearing a print with

Hancock's signature, assumed on insufficient grounds to be of Battersea manufacture ;

see Chaffers, pp. 778, 977.

11 Nos. 3, 8, 9, 12, 13, 15, i6, 18, 23, 24, 25, 29.

1- Nos. 61, 65, 76, 77, 85, 106, 501.

'^ Nos. 86 and 128 exemplify the later, Nos. 90 and 92 the earlier blue.

BOW. 7

§ I. STATUETTES AND GROUPS, COLOURED.

Nos. 1-30, 197, &c.

All the roUowing pieces are painted in enamel colours over the
glaze, and, with the exception of Nos. i, la, 20, 200, 22, 30 and 188,
are further decorated with gilding.

1. Pair of Figures. A boy and girl selling fish. Copied from Meissen figures

modelled, probably by Johann Joachim Kaendler, about 1750. About 1760.
(Plate i.)

The boy wears a blue coat and red and white striped trousers and stands on a square base,
holding up on end a big oval basket in which are three fish. The girl is dressed in a
yellow bodice, flowered skirt and white apron, in which she holds up two fish ; she
stands with a basket of fish beside her on a square rocky base on which are shells and
coral. H. 5I in., j| in. respectively.
Meissen figures from these models were formerly in the Fitzhenry Collection.

2. Pair of Figures. An actor and actress in Turkish costume. Mark on the former,

the sign of the planet Mercury, incised (No. i)*. About 1755. (Plate i.)

The actor is clad in a fur cap, long mauve cloak lined with ermine over a green tunic
faced with brown fur, red breeches and high yellow boots. The actress wears a long
red-sleeved cloak lined with ermine over a flowered dress and fringed pink and yellow
petticoats : her hair is dressed in a high horn-like coiffure, with a veil hanging from it.
Both figures stand on a square base. H. jj in., 8} in. respectively.

3. .^CTOR, in a costume pirobably intended for Turkish. Mark, a dagger and anchor in

red, and a sword in blue (No. 2). About 1770. (Plate 2.)

He stands on a four-footed rococo-scrolled base with applied flowers and leaves, and wears
a fur cap, long yellow fur-lined cloak over a blue tunic, lli)\vercd breeches and high
red boots. H. g in.

4. Statuette and Pedestal. Britannia supporting a medallion with a relief bust of

King George II. (1727-1760). The pedestal has designs printed in black and
painted over in colours, amongst which is a trophy with a shield bearing the
arms of Prussia, indicating that the statuette was probably made aboiit the
time of the British alliance with Frederick the Great in 1756. (Plate 3.)

Britannia sits on a mound, wearing a loose robe painted with bouquets of flowers ; she
holds the medallion with her left hand, while with her right she supports a shield
behind which a lion is crouching. Beside the mound are a globe, weapons and a
standard. The pedestal is elaborately moulded with rococo scrollwork, leaving three
spaces in which are the printed designs ; these include, besides the above-mentioned trophv,
a camp-scene and a landscape with equestrian figures. H., including pedestal, 6J in.
Church, fig. 19.

5. General Wolfe (b. 1727, d. 1759), copied, with slight modifications, from an

engraving_ by Richard Houston after a sketch by Captain Harvey Smith.
Mark, " T° " impressed (No. 3), said to be a mark of the modeller Tebo.
About 1760. This statuette and its companion representing the Marquis of Granby
(No. 6) were probably made to commemorate the victories over the French in
1759 at Quebec and Minden, in which the respective Generals were engaged. On

*Note.—The bracketed numbers joUoiving the descriptions of marlts refer to the reproductinns of them on PlatesgycjCi

8 how.

ihe base is a |)laii of a fortress jiartlv rolled uj), showing piwi ui the name
"BECK" (Quebec). (Plate 4.)

The general stands as if directing operations, beside a tree-stump on a rococo-scrolled base.
He has a musket slung across his shoulder and a crepe band on his left arm. At his feet
are a cannon, cannon-balls and grenades, an axe, a standard, and sprays of laurel.
H. I3s in.
The authorship of the original portrait is discussed in The Cenlurv Magazine, New Series,
.\x.\iii., p. 327.

6. Gf.nkral John Manners, Marquis of Granby (b. 1721, d. 1770), in the uniform

of Colonel of the Horse Guards, copied, with slight modifications, from an
engraving by Richard Houston, published in 1760, after a painting by Sir
Joshua Reynolds, now in the collection of the Earl of Wemyss. Mark,'"T"
impressed, said to be a mark of the modeller Tebo. About 1760. Probably
made to commemorate the battle of Minden, 1759 ; see note on the companion
statuette of General Wolfe (No. 5). (Plate 4)

The marquess stands bare-headed, beside a tree-stump on a rococo-scrolled base. His left
hand rests on the hilt of a sword, the blade of which is missing ; a baton is also missing
from his right hand. At his feet are a cannon and grenades, an axe, a standard, spravs
of laurel and a cocked hat. H. 14I in.

Compare the portrait printed on a Worcester mug in the Collection (N'o. 553).

7. Minerva. Another specimen in the Museum from the same model (No. 482-1902)

bears an impressed " T," said to be a mark of the modeller Tebo. About 1760.
(Plate i.)

The goddess wears a plumed helmet, an imbricated tunic over a blue robe, and a yellow-
cloak with crimson flowered lining thrown loosely round her. She stands with her left
hand resting on a shield with the Gorgon's head, on a four-footed rococo-scrolled base
with applied flowers; at her feet is an owl. H. 13I in.

Bought by Mr. Schreiber at Madrid, March 17th, 1872, see Journals, i, p. 139, " to

Raphael's. .'\t the latter place C. S. saw a Bow figure of .Minerva, which he ultimately
bought for £s-"

8. Figure of a Red Indian Woman, emblematic of America, one of a set of the

Four Continents. About 1770. (Pl.a.te 2.)

She stands with flowered drapery thrown round her and a head-dress of feathers, taking an
arrow with her right hand from a quiver on her back ; in her left hand she holds a
bow. The figure is supported by the stump of a flowering tree, at the base of which
is a prairie-dog, on a round rococo-scrolled base. H. 135 in.

A similar model was used at Plymouth ; compare \o. 6S4 in the Collection, and note
thereon as to the origin of the type.

9. Vi;nus. .\bout 1770. (Pla'ie 2.)

The goddess stands leaning against the stump of a flowering tree with two doves at her
feet on a rococo-scrolled base ; she is clad in flowered drapery clasped by a girdle, with
a pink veil hanging from her right shoulder. H. loj in.

.Mew, pi. viii.

10. Young Man playing Bagpipes. Mark, " T° " impressed (No. 4), said to be

a mark of the modeller Tebo. About 1760.

He stands beside a tree-stump with a dog lying at his feet on a round base with applied
flowers and leaves ; he wears a black hat, pink coat with green collar, white shirt and
flowered breeches. H. 5I in.

BOW. 9

11. Grolp of a Youxg Man and Woman. Mark, "TO" impressed, said to be a

mark of the modeller Tebo. About 1760.

The figures are standing by a tree-stump on a four-footed rococo-scrolled base with applied
flowers and foliage. The man is dressed in yellow cocked hat, pink jacket, blue sash
and striped breeches, and holds a bunch of flowers in his left hand ; the girl has a piiik
hat, yellow dress with pannier, greyish-blue apron and striped crimson skirt ; she supports
a basket of flowers with her right arm and has a nosegay in her left hand. H. 7^ 111.,
\V. of base, 4I in.

12. Pair of Figurus emdlf-matic of Spring and Winter, two of a set of tlie

Four Seasons. About 1765. (Plate i.)

Spring is represented by a girl with flowers, .-Vutumn by an old man warming his hands at a
brazier. The girl wears a wide blue hat, green- bodice with pink sleeves, striped skirt
and flowered apron, and sits on a rock with a basket of flowers beside her, holding up
a nosegay in her right hand. In front of her is a flowering bush and to one side a beehive.
The old 'man is seated on a rocky mound, with the brazier among flowering plants at
his feet. He is dressed in a long green hooded coat and flowered breeches. Both figures
are supported on rococo-scrolled pedestals. H. 6 in., 6| in. respectively.

These figures resemble in style the figures of which sketches are preserved among the
papers of John Bowcocke in the library of the Department of British and Mediaeval
.Antiquities at the British Museum ; compare Hobson, Catalogue 0/ English Porcelain,
p. II.

Bought by Lady Charlotte Schreiber in Paris, February 19th, 1875, see Journals, 1., p. 356,

•■ There are'two verv good figures of Seasons at Crispin's To the Boulevard

lieaumarchais to see Crispin again. We now offered him ^8 for his two Bow figures, which
he accepted."

Mew, pi. XV.

13. Girl dancing. Mark, an anchor and dagger, in red. About 1770.

A girl in a pink and green hat, pink bodice, flowered skirt and apron, dancing in front of
a large bocage of flowers and foliage ; rococo-scrolled pedestal. H. 9J in., W. 6' in.

14. Pair of Figures. A boy and girl with baskets of grapes. About 1765.

Both are seated with the basket on their laps on a stump rising from a rococo-scrolled base,
on which are large applied flowers and leaves. The boy is clad in a plumed light blue
hat, yellow-lined pink coat, white waistcoat, and flowered breeches, the girl in a crimson
hat, yellow bodice, and flowered skirt. H. 5I in., 45 in. respectively.

15. Pair of Figures of dancing Peasants, a youth and a young woman. .About

1770. (Plate 2.)

The youth wears a yellow hat, crimson jacket with yellow sleeves, and flowered breeches,
the woman a white cap, crimson bodice with blue and green bows down the front and
short sleeves, flowered skirt and apron. Both figures stand on four-footed rococo
pedestals, the youth being supported by a tree-stump, with large applied flowers and
leaves. H. 7J in., 7^ in. respectively.

16. Pair of Candlesticks, each in the form of a kneeling figure of a negress.

About 1770.

I5oth figures are clothed in a flowered dress with blue and gold girdle and yellow sleeves,
and a white veil, from which rises a fountain of plumes, forming tlie grease-pan of the
candlestick ; this is bored in the middle with a hole for insertion of the socket. The
figures are supported on rococo-scrolled bases with applied flowers and foliage. Each,
H. 6.1 in.

lo BOW.

17. Paiij ov Figures. A negro and negress, copied from Meissen figures modelled

by Kaendler. About 1760. (Plate 2.)

The negress wears a high-pointed striped bonnet and a long pink gown over a flowered dress,
and carries a basket of fruit on her left arm. The man is dressed in a pink and blue
cap, cream-coloured tunic, pink trousers, and red shoes, and holds a dish of fruit in his
right hand. Both figures stand on rococo-scrolled pedestals with applied flowers and
foliage, the man being supported by a tree-stump. H. 6| in., 0^ in. respectively.

For the negress compare Berling, Meissiier Purzellaii, lig. 8j.

18. Pair of Figures of Boys, phiying a fife and drum respectively. Mark on

both, "I" in blue (No. 5). About 1770. (Plate 5.)

Both boys are dressed in a black hat, crimson military frock-coat with dark blue facings,
flowered waistcoat (in the case of the fifer opened in front so as to show a white shirtj,
and striped breeches. The fifer wears long white gaiters, the drummer stockings and
shoes, from one of which his toes are seen protruding. Both figures stand supported by
the stump of a flowering tree, on a rococo -scrolled base. H. ii| in., loj in. respectively.

Bought at the Hague, September 18th, 1879; see Journals, ii., p. 206, "We ended our
researches by a visit to Munchen, where we were tempted into investing £2-; in the
purchase of very fine and unusual figures— Bow— representing boys playing a flute and
a drum."

Church, fig. 20, 21.

19. Pair of Figures of Boys, each with a vase for flowers on his head.

About 1755. (Plate 2.)

Both figures are dressed alike in a long flowered robe with a crimson sash thrown loosely
round the waist, and stand on a rococo-scrolled base. They carry a wreath of flowers
in the left hand, while the right is raised to support the vase, of fluted form with
expanding wavy rim, which rests above a garland of flowers on the head. Both H. 14I in.

20.

Pair of Figures. A male and a female cook. Mark on the former, " B " im-
pressed (No. 6). -About 1755. Perhaps modelled by John Bacon, afterwards
R.A. (b. 1740, d. 1799), who was apprenticed as modeller to a china-maker
named Crispe,' of Bow Churchyard, from 1755 to 1762. Mention is made of
" cooks " in the memorandum book of John Bowcocke ; sixteen were ordered
of him by a dealer named Fogg in 1756. (Plates 6, i.)

The man wears a black and white cap, blue-lined pink coat, white shirt, flowered breeches
and white apron, and carries two trussed birds on a dish. The woman is dressed in a
white cap pink-lined yellow gown over a bodice and flowered skirt, and white apron ;
she carries a dish with a leg of mutton upon it. Both figures stand supported by a
tree-stump on a round base with applied flowers and foliage. H. 6.J in., 7 in. respectively.

Mew, pi. viii.

21 B.\j\7-Z0, one of the characters in the Italian Comedy {Commedia dell' Arte), copied
with 'slight modifications from a Meissen figure modelled about 1735 by
Kaendler. About 1760. (Plate 2.)

He wears a wide cream-coloured hat, yellow coat and trousers, and pink collar, and stands
with uplifted arms beside a flowering tree-stump on a round base, decorated with scrolls
in crimson and applied flowers and leaves. H. 5I in.

Compare C. H. Fischer, Sammlung AU-Meissner Porzellan, p. 40, fig. 288. Atention is made
of a " Pero " {sic) in the memorandum-book of John Bowcocke.

BOW. II

22. Harlequin, one of the characters in the Italian Comedy {Comvicdia dell' Arte).

About 1760. , . J , , . J

He %vear<; a conical hat, black mask, coat painted with playing cards and hearts, and parti-
coloured trousers. His right hand is raised to his hat ; under his left arm he holds his
lath He is seated on a tree-stump on a round base. H. 4^ in.

Mention is made of " Harlequin " (siV) in the memorandum-book of John Bowcocke.

23. G.\RDENER, emblematic of Autumn. About 1770. (Plate 7.)

He wears a green-lined crimson coat, figured waistcoat, flowered breeches and dark blue apron.
He stands beside the stump of a cherrv-tree with fruit and foliage, on a round base ori
which are applied flow^ers and leaves ; he has a black cocked hat in his left hand, and
with his right he holds up his apron laden with fruit. H. 14 in. , , . _

This figure is adapted from a model made for the Chelsea factory by Louis Francis
Roubiliac, which forms one of a group in the Collection (No. 193).

24. Bishop. About 1770. (Plate 2.)

He stands clad in mitre and vestments with fur-lined cope, with his right hand raised in
benediction, on a rococo-scrolled base on which are applied flowers and foliage.
H. ii| in.

25. Turk, copied from a Meissen figure modelled about 1750 by Kaendler. About 1765.

He wears a blue and white turban, a fur-lined pink cloak over a long flowered yellow robe
and pink trousers ; a dagger is stuck in his sash. He stands on a round base with applied
flowers and foliage. H. 7^ in. „ , . . c

Compare Berling, Meissner Porzellan, fig. 82 ; Meissen, Festive Pubhcalion, fag. 37, p. 34.

26. G.^llant kissing his Hand, copied from one of a pair of Meissen figures

modelled by I\aendler. About 1760. (Plate 6.)

He wears a wig tied with large black bow, a pink dressing-gow^n with pale yellow lining
white shirt and blue breeches. Like the Meissen originals, this figure is quite e.\ceptional
in having no base. H. 6J in. l e- l-- c

The original figure is traditionally supposed to represent Augustus the Strong, King ot
Poland and Elector of Saxonv, kissing his hand to a lady of the court. Compare
Berling, Meissner Porzellan, fig. 73, and remarks on p. v (no. 321) of the preface by
Dr. O. von I'alke, to C. H. Fischer, Katalog der Sammlung Alt-Meissner Porzellau,
Cologne, 1906. /- 1 •

Bought at .^msterdana, October 24th, 1873, see Journals, 1., p. 235, " to Van (..alen s,

where we got a very pretty Bow figure (sold to us as Dresden) at £5. It is evidently a
portion of a larger scheme, being a gallant looking up and kissing his hand.

Mew, pi. XV.

[27. Figure. Plymouth porcelain, see p. 125.]

28. Boy seated on a Mound. About 1760.

He is seated with left arm raised, beside a tree-stump, on a green mound ; he wears a black
hat, yellow-lined blue coat, and waistcoat and breeches painted with roses. H. 4J in.
This figure is exceptional in being hollow instead of having a solid base.

29. Pair of Groups. A negro and a Turk, each leading a horse, copied with slight

modifications from Meissen groups modelled about 1750 by Kaendler. About
1770. (Plate i.)

The negro wears a blue and white turban, a long pink coat reaching to his ankles, with a
iash, into which a dagger is thrust, round the waist, and yellow boots. 1 he 1 urk is
similarly attired, his coat being lined with yellow and tucked up in front into his sash.
The horses are both in a rearing attitude, supported by a stump with applied flowers
and foliage. Each group rests on a round base. H. yl in., 8i in. respectively.

Mew, pi. xiv ; Journals, i, ill. facing p. 54. Compare also Berling, Meissner Porzellan, hg. 97 ;
Meissen, Festive Publication, pi. xi., 7, p. 33 ; Sammlung Custav von Gerhardt, Budapest, I.
Kunstgeiverle, Berlin, 191 1, pi. 4, nos. 66, 67.

12 BOW.

30. Boy on a galloping Horse with a Dog. About 1765. (Plate i.)

The buy is naked and sits on a lion's skin thrown over the horse's back. Tlie group is
supported on an oblong base with n.unded ends, on which are applied flowers and
foliage. H. 5! in., L. y^ in.

197.* Lovers and a Clown, adapted from a Meissen group modelled about 1750 by
Kaendler. About 1765. (Plate i.)

A lady and gentleman in dress of the period seated beneath a fruit-tree embracing one
another, while a clown in parti-coloured costume approaches from one side, putting his
hand on the gentleman's shoulder. The lady has a dog on lier lap. The whole grouj)
is supported on an oval base with applied flowers and foliage. H. 7I in., W. 7^ in.

Compare Berling, Meissner Porzellati, fig. 149.

181. Group allegorical of Charity. About 1755. (Plate 2.)

A woman in a flowered robe and yellow veil standing with a child supported on her lift
arm, giving a coin to another child who kneels at her side. H. 11 J in.

This group may be compared with one of Meissen porcelain by Johann Friedrich Eberlcin,
figured in the Festive Publicution, pi. 15, no. 10.

188. Woman holding a large Shell, copied from a Meissen figure of the period of
Kaendler. About 1760. (Plate i.)

She is seated on a rock with small shells attached to it, supporting with outstretched arms
a large scallop-shell which is painted with sprays of flowers in colours. She is dressed
in a pseudo-Turkish costume consisting of high pointed purple hood, a long figured
vellow dress with white short-sleeved cloak over it, purple drawers and red shoes.
H. 5f in., M'. 4I in.

198. Pair of Figures. Harlequin and Columbine, the latter copied with alteration
of the right arm from a Meissen figure modelled about 1735 by Kaendler.
About 1760. (Plate 2.)

The dress of Harlequin is painted in triangular patches of crimson, blue, green, purple and
yellow ; he wears also a pink hat and black mask, and holds a lath under his right arm.
He stands supported by a tree-stump, on a round base with applied flowers and foliage.
Columbine is represented in a parti-coloured bodice, flowered skirt, and yellow hat,
dancing beside a tree-stump on a round base similar to that of the companion figure.
H. 5^ in., 6| in. respectively.

Compare Berling. Meissner Poyzellan, pi. xii, 5. Mention is made of "harliquin" (sic) and
"columbine" in the memorandum -book of John I!owcocke.

304. Handle for a Cane, in the form of a figure of a boy drinking. About 1770.

He wears a white hat, pink coat with green facings, blue apron and red breeches, and sits on a
barrel with a foaming tankard in his hands. At his feet are a dog asleep and a sheet of
music. The lower part is decorated with rings of gilding. H. 3^ in., W. ij in.

J. T. Smith, in Nollekens and his Times, vol. ii., page 177, reports a reference to "very
curious heads of canes " made at the Bow factory, in a conversation between Nollekens
and the dealer Panton Betew.

305. Handle for a Cane, from the same mould as No. 304, with gilt metal mount.

About 1770.

The boy wears a black hat, crimson coat with yellow lining, blue waistcoat, purple apron and
breeches. The sheet of music is omitted, while the lower part is painted with striations of
purple. H. 3I in., \V. i:|: in. Compare note on No. 304.

♦ j\'o(f. — Where, as in this and other cases, a change of attribution has been neceasary, the number assi/^ned to
the object in the original catalogue has been retained ; see the Note on p. vi.

BOW. 13

^ 2. FIGURES OF ANIMALS AND BIRDS, COLOURED.
Nos. 31-34, 226, &c.

These figures are all painted in colours without gilding. The birds
are for the most part fanciful both in form and in plumage, differing
notably in this respect from the Chelsea birds (sec pp. 30, 40), which
are often modelled and coloured with sc^ne resemblance to natural
species.

31. Pair of Figukes of Monkeys, male and female, the later with a \oung one on

her back. About 1760.

Both are seated eating a fruit, on a round base with applied flowers and foliage. H. 3I in.,
3^ in. respectively.

32. r'uG-DOG. .A.bout 1770.

The dog is seated scratching its car on a rococo-scrolled pedestal decorated with applied
flowers and leaves. H. 3^ in , \V. of base 3* in.

33. Pair of Figures of Cats with Mice. About 1765.

Kach cat sits holding a mouse in its left paw, while another mouse is running into a hole

on the base, which is decorated with crimson rococo scrolls. H. 3 in., 3j in. respectively.

Bought at Amsterdam, see Jminiah, i, p. '4. ". . . . at niock's only 2 little Bow cats, 13/4."

34. Dolphin, probably intemled for a paper-weight. .About 1760.

H. 4j in.

226. Pair of Figures, a cock and a hen with three chickens, .\bout 1760.

Kach supported on a mound uith applied flowers and foliage and scrolled edge. H. 45 in.,
4 in. respectively.

227. Pair of Figures of Green Parrots. About 1765. (Plate i.)

Each perched with a fruit in its claws on the stump of a tree, which is supported on a
three-footed base decorated with purple scrolls. H. 7} in., 6| in. respectively.

231. Pair of Figures of Birds, .\bout 1760.

ICach bird is perched on the stump of a flowering tree. H. 3j in., 2J in. respectively.

233. I'iRD. .\bt)Ut 1760.

The bird is perched on a flowering branch, pluming itself with one wing raised. Supported
on a broad scrolled base with four feet. H. 23 m., W. 5j in.

14 BOW.

^ 3. STATCETTES AND FIGURES, WHITE.
Nos. 135, &c.

The following pieces are left entirely without coloured decoration,
with the exception of No. 142, which shows traces of oil gilding, now
mostly worn off. The attribution to Bow rather than to Chelsea is in
some instances a little uncertain.

135. Figure, one of a pair. Henry Woodward (b. 1717, d. 1777) in the character of

the Fine Gentleman in Garrick's farce Lethe, modelled from an engraving by
James McArdell after the painting by Francis Hayman, of which a photograph
accompanies the Collection (No. 1885). About 1750. (Plate 8.)

The actor is represented with legs astride and hands thrust into his pockets, standing beside
a pedestal on a square base, incised with check pattern. He wears a large three-cornered
hat, a frock-coat over a long figured waistcoat, the skirts of which are tucked up over
his arms, and knee breeches. H. lof in.

Burton, English Porcelain, fig. 13, Porcelain, fig. xlix. See note on No. 135a-

135a. Imgukk, one of a pair. ICitty Clive {ni'e Rafter, b. 171 1, d. 17S5J in the charac-
ter of the Fine Lady in Garrick's farce Lethe, modelled after an engraving by
Charles Mosley, dated 1750, of which an impression accompanies the Collection
(No. 1815). About 1750. (Plate 8.)

The actress stands with head thrown back, a spaniel under her right arm, and a letter in
her left hand, on a shaped base on which is an applied floral spray. She is dressed in
a wide lace cap, a lace-trimmed bodice and a large crinolined skirt. H. gf in.

A pair of figures from tlie same models appears to have been made at Chelsea, as well as at
Bow. J. T. Smith (A Book for a Rainy Day, London, 1845, pp. 266-7), describing a visit
to Garrick's villa at Hampton in 1829, states that he found still remaining there " a figure
of Kitty Clive as the Fine Ladv in Lethe, from the Chelsea manufactory', which was some-
thing less than a foot in height, was perfectly white, and one of a set of celebrated characters,
viz., John Wilkes ; David C^iarrick in Richard the Third ; Quin in Fahtaff ; Woodward in the
Fine Gentleman ; the Duke of Cumberland, &c. Most of these were characteristically coloured
and are now and then to be met with." In the Strawberry Hill Catalogue, made by
Horace Walpole, is included " Mrs. Catherine Clive, the e.xcellent comedian, in the character
of the Fine Lady in Lethe ; in water colours by Worlidge."

Burton, English Porcelain, fig. 11, Porcelain, fig. xlix.

136. James Quin (b. 1693, d. 1766) in the character of Fahtaff, modelled from an

engraving by James McArdell, after a drawing by himself. About 1 750. (Pl.\te 9.)

The actor stands astride beside a tree-stump, with b,isket-hilted sword in his right hand,
and circular shield on his left arm ; he wears a plumed hat, a coat over a long waistcoat,
breeches and jack-boots. Square base. H. 9} in.

Ouin was appearing in this part in 1746-7,

137. King Lear. About 1755. (Plate 10.)

He stands on a rococo-scrolled base with a broken sword and orb at his feet, and wears
a long cloak thrown loosely over a tunic. H. 9I in.

BOW. 15

141. Lady with a Basket. About 1760. (Plate ii.)

A lady seated holding a basket of fruit on her knee, her right hand raised towards her lips.

H. 6J in.
Burton, English Porcelain, fig. 12, Porcelain, pi. xlix. : Burlington Magazine, xxv., illustration,

P- 35-

142. Pi^uTO ATTENDED BY Cerberus. Showing traces of oil gilding. About 1760.

(Plate ii.)

The god has loose drapery round his body and a crown on his head ; he is represented in
a striding attitude, with right leg advanced and outstretched arms. Cerberus crouches
behind him. The group is supported on a base with a grotesque mask at the back.
H. 6| in.

Burlington Magazine, xxv., illustration, p. 35.

143. Pair of Figures of SphIiNxes. The heads are apparently portraits of the

actress Peg Woffington (d. 1760), adapted from the painting by Arthur Pond,
engraved by James McArdell, now in the National Portrait Gallery, London.
About 1750. (Plate g.)

Both are represented couchant on a scrolled pedestal. Each, H. 4I in., L. 4; in.

Chaffers, Fig. 493.

146. Pair of Figures of Lio.n's. .\bout 1750. (Pl.ate 9.)

Each is seated on an oblong base, with one paw raised and supported on a stump. Each,

H. 4J in.
A similar figure of a lion forms the handle to the cover of a tureen in the Xational Museum

of Science and .Art, Dublin, similar in form to No. 307 — 1869 in the Museum, but painted

with Japanese ornament in the Kakiyemon style.

147. I'air of Figures of Pug-dogs. Mark on each, the sign of the planet Mer-

cury, incised. About 1750. (Pl.\te 9.)

Each dog reclines on an oblong cushion with large tassels at the corners. H. 3I in., 3I in.,

L. 5I in., 5J in. respectively.
Chaffers, fig. 494.

148. Pug-dog. About 1750.

Standing figure on oblong base with Mowers in relief. H. 2I in., L. a? in.

149. Pheasant, .\bout 1750. (Plate g.)

Standing on a rocky base with applied (lowers and foliage. H. 6| in., L. yl in.

151. Ostrich, made in imitation of Chinese (Fuchien) porcelain {see p. 6). About
1750. (Plate 9.)

Standing figure beside the stump of a tree on which are applied three large flowers with
foliage. H. 6 in.

701. Spaniel with a dead Bird. About 1755. (Plate 9.)

The dog stands open-mouthed, with his right fore-paw on the body of the bird; rough oblong
base, with foliage in relief. H. 3^ in., base I.. 4J in.

i6 BOW.

§4. VASES AND ORNAMENTAL PIECES, COLOURED.
-^''«- 35-57-

These pieces are all painted over tlie glaze in enamel colours, with
the exception of No. 49, which is painted in blue. Gilding is added
in the case of Nos. 48 and 53.

[35. Pair of Vases, Worcester porcelain, see p. 85.]

[36. Vase, Longton HaU porcelain, see p. 122.]

37. ^■ASE AND Cover, painted in the Chinese style. .Vbout 1750. (Plate 12.)

Elongated o\oid body tapering downwards to the base, short neck contracting upw-ards,
domed cover on the top of which a figure of a bird, not originally part of the cover, has
been placed to form the handle. The body is painted with chrysanthemums, tree-peonies
and bamboos growing on rocks and with geese standing or flying among them. On the
cover are also two geese among plants. The edge of the cover and the shoulder are
painted with a border of diaper-pattern, interrupted by panels in which are flowers and
foliage. H. iij in., diam. jj in.

[38-40. \'ases, Worcester porcelain, see p. 85.]

41. Bowl and Cover for pot-pourri. Mark, "To" impressed, said to be a mark
of the modeller Tebo. About 1760. (Plate 6.)

Circular with high foot. The lower part is decorated with gadroons ; round the rim is a
row of bosses, below which are painted sprays of flowers. Inside on the bottom is a
rose-spray. The cover has a border of pierced acanthus-foliage and rises in the middle
to a dome painted with floral sprays, which is surmounted by a seated figure of a boy
playing bagpipes. H. lo in., diam. 6| in.
.As in the case of Nos. 43 and 711, it is probable that the mark refers only to the modelhng
of the figure in relief on the cover ; compare Burlington Magazine, xxv., p. 108.

[42. Vxui ov Vases, Chelsea porcelain, see p. 43.]
[43. Vase and Cover, Worcester porcelain, see p. 84.]

44. Vase. About 1760.

Ovoid body, shaped spreading base, narrow neck, mouth expanding in the form of a flower
with v'ariouslv coloured petals ; a frill of similar petals encircles the lower part of the
body. On the shoulder are three masks connected by garlands of foliage from which
hang wreaths of flowers, all applied in full relief and coloured. The interspaces are
painted with lloral sprays. H. 8| in., diam. 5J: in.

[45. PAUi oE Vases, Chinese porcelain, see p. 168.]
46. Pedestal, .-\bout 1760. (Pl.\te 13.)

I'our-lobed, with scrolls painted in blue and purple at the angles. On three sides are
bouquets of flowers in colours: the fourth is moulded in relief with military emblems.
H. 3J- in., W. jV in.

BOW. 17

[47. Pair oi- \'ases of Flowers, Longton Hall porcelain, see p. 122.]

48. Bowl with Cover and Stand. Mark, an anchor and dagger in red. About 1770.

Tlie bowl is circular, with two loop handles in the form of twigs with flowers and foliage,
and is painted on either side with two exotic birds on branches of trees above a serrated
border, on which are gilt floral sprays on a powdered blue ground ; inside on the bottom
is a rose. The cover has a scrolled handle set in the middle of a blue star, in each of
the eight points of which is a gilt floral spray ; the star is surrounded by birds and
insects. The stand has a wavy edge, and is decorated with a similar star in the middle
and on the rim with exotic birds on branches and insects. Bowl and cover, H. ^\ in..
\V. 6 in ; stand, diam. jl in.

Mew, pi. ix.

49. Bowl and Cover, painted in underglaze blue. .A-bout 1770.

The bowl and cover are moulded with basketwork (on the latter pierced), and decorated with
applied sprays of flowers and foliage ; the cover has a handle twined about with ribbon.
Round the inside of the bowl and the edge of the cover is a border of diaper ornament,
and on the bottom of the bowl is a Chinese landscape with a large butterfly. H. 7j in.,
diam. 7J in.

.-\ bowl of the same form in Chelsea-Derby porcelain is also included in the collection (No. 439).
A ver)' similar bowl figured by Bemrose {Longton Hall Porcelain, pi. xlvi) is ascribed
by him to Longton Hall.

Mew, pi. xi.

50. Slgar-basin and Cover, with applied relief decoration in imitation of Chinese

(Fuchien) porcelain (see p. 6). About 1755.

Both pieces are decorated with three /))-«««s-sprays in relief, between which are sprays of
flowers in colours. H. 3I in., diam. 4I in.

51. Bowl, in the form of a basket. Mark, " T " impressed. Perhaps modelled by Tebo

(see No. 41). About 1760. (Plate 13.)

The basket is of oval form, with open trelliswork sides and applied coloured flowers at the

points of intersection ; it is supported on a rococo-scrolled base, round the top of which

are applied flowers and foliage. H. 4j in., W. 4I in.
Mew, pi. xi.

[52, 53. Basket and Pair of Flower-holders, Worcester porcelain, see p. 88.]

54. Flower-holdf.r, with applied relief decoration. Mark, 4 in red. .About 1760.

The back is flat ; the bowed front is moulded with rococo scrolls and painted with u
bouquet in colours within a wreath of applied flowers tied with a ribbon. H. gj in.,
\V. 3J in.

55. Dish. About 1760.

Oblong, w-ith eight sides and an angular handle at either end. Painted with a bouquet and
sprays of flowers and insects, and with a border in the style of Japanese Kakiyemon
ware, of gilt conventional flowers among close red foliage. The underside of the rim is
coloured yellow. I,. 13! in., W. 9^ in.

56. Pair of Bottles, each mounted with ormoulu foot and rim. .About 1760.

(Pl.'\.te 13.)

Each has a bulbous body and long narrow neck, and is painted with bouquets and sprays
of flowers. H. j^ in., 5J in., diam. 3J in., 3J in. respectively.

57. Pair of Bottles. About 1760. (Plate 13.)

Each has a bulbous body painted with two birds, a bouquet and sprays of flowers; long neck
also decorated with sprays of flowers, with projecting ring near the top and expanding
mouth. Each, H. 9J in., diam. 5S in.

Siiuilar in style to No. 104.

1 8 BOW.

§ 5. PIECES EUR DOMESTIC I'SE, COLOURED.

Nos. 58-132.

'riic decoration ol the following pieces is variously elicctetl by
painting or printing in various colours over tlie glaze or by painting
in blue under the glaze, (jilding is added in a few specified cases.

[58. Dish, Worcester porcelain, see p. 90.]

59. Dish, printed in purplish-black with a group of figures copied from a composition

of Watteau, engraved by Charles Nicholas Cochin pere, entitled " Le Bosquet
de Bacchus." About 1755.

Oval with wavy rim. The group comprises five figures of ladies anil gallants beside a tree,
three reclining and two standing. L. 75 in., W. 6j in.

59a. Dish, decorated with prints in brown painted over in colours. About 1755.

Oval with lobed rim, and wavy edge lined with brown. In the middle is a man approaching
a table at which a woman is seated, and on the rim are two smaller groups, one of a
man, woman, and child, the other of three children : all the figures are in pseudo-Chinese
dress. L. y} in., W. 6\ in.

59b. Dish, decorated with prints in brown painted over in colours. About 1755.

Oval with lobed rim, and wavy edge lined with brown. In the middle is a group of two
Chinese ladies and a boy in a garden. L. 7I in., W. 6} in.

60. Dish, moulded in relief, painted in colours and gilt. About 1770.

Oval with wavy rim, moulded with vine-leaves and bunches of grapes. The middle is painted
with a group of fruit. L. 9^ in., W. 8| in.

61. Dish, moulded in the form of a leaf, painted in pink, yellow and green, and

jirinted in black. .About 1765.

The edge is coloured green and yellow, the mid-rib and veins pink: in the middle are three

butterflies printed in black. L. 8| in.
This dish is similar in style to No. 65, which is signed " Rhodes pinxit," and was perhaps

made at Bow and decorated elsewhere. See also note on N'o. 501 below.

357. SwEF.rME.vT-Disii, in the form of a leaf, painted in colours, .-\bout 1750.

The stalk forms the handle. On the lower side is a spray of flowers in relief on which the

tray rests. The inside is painted with sprays of flowering tree-peony in the Chinese style.

H. i^ in., W. 5 in.
This piece is very similar in decoration to the inkstand in the Museum (N'o. 2S64 — 1901)

inscribed "Made at New Canton 1751."

501. Dish, printed in purple and painted in colours. About 1765.

Moulded in the form of two lettuce-leaves, printed with a group of birds fl}ing or perched

on tree-stumps in a landscape. 1 he edges of the leaves are coloured green and yellow,

and veins are indicated in crimson on part of one of them, which is turned back,

I,. 104- in., \V. 7I in.
Similar to No. 61 : compare note thereon. This piece and N'o. 61 appear to be inferior

imitations made at Bow of Worcester shapes e.vemplified by Nos. 500 and 532 respectively.

BOW. 19

62. Pair of Dishes, painted in colours. Mark on both, an anchor and dagger in red.
About 1770.

Eight-sided oblong, with sloping sides, which are painted with branches of foliage in red and
green ; in the middle is a lake-scene in the same colours and purple. Each, L. 85 in.,
W. 61 in.

[63. Dish, Chelsea porcelain, see p. 56.]

64. Dish, painted in underglaze blue, with a powdered blue ground, in imitation of

Chinese porcelain. About 1765.

Shell-shaped ; painted on the upper side with Cliinese landscapes and floral sprays in eight
panels, alternately circular and fan-shaped, surrounding a landscape in a larger panel, all
reserved in white on the blue ground. Diam. 75 in.

Compare note on Xo. J15 below.

514. I'wo Plates, with a powdered blue ground. Mark, five simulated Chinese

characters, in blue (No. 13). About 1765.

The upper surface is entirely covered with blue ; the lower side is left white and is painted on the
rim with branches in blue. Diam. 8| in., 8^ in. respectively.

515. Two Plates, painted in underglaze blue, with a powdered blue ground, in

imitation of Chinese porcelain. .Mark, six simulated Chinese characters and
crossed swords, in blue (No. 14). About 1765. (Plate 12.)

Painted on the upper side with Chinese landscapes and floral sprays in eight panels, alternatelv
fan-shaped and circular, surrounding a landscape in a larger circular panel, all reserved
in white on the blue ground. The lower side of the rim is painted with brandies. Diam.
gf in.,g^ in. respectively.

Pieces of this character are usually ascribed to Lowestoft or Worcester; compare Spelman,
Lowestoft China, pi. Ixxv, Hobson, Worcester Porcelain, pp. 58, 189. The distinctive shape
of the plates, paralleled in Nos. 68, 69 and 80, and in the " Thomas Crowther " plates in the
British Museum, as well as the appearance of their paste and glaze, is in favour of Bow as
their place of origin. The question is fully discussed in the Burlington Maf;azine, vol. xxv.,
[). 39. where these plates are reproduced.

65. Pair oe Dishes, with moulded, painted, and black-printed decoration ; the

print on one of the dishes is signed "Rhodes pinxit" in brown. .Mark, on
one, " T," on the other a cross (No. 10), in red. .About 1765.

Both are moulded is relief in the form of two vine-leaves, with edges bordered in green, aiid
stalk coloured yellow forming the handle. In the middle of each is a different group of
birds among trees printed in black. W. yi in., 8 in. respectively.
The signature is probably that of David Rhodes, an enameller who worked about 1760 in
partnership with one Hobinson at Leeds as a decorator of English and foreign china
and stoneware, and later in London for Josiah Wedgwood. He entered the employment
of the latter in 1768, having "just come out of Yorkshire" (as stated by Wedgwood in
a letter to his partner Bentley) ; he worked for Wedgwood at his London workrooms,
first in Great Newport Street and afterwards at Chelsea, till the time of his death in 1777.
See Meteyard, Lije oj Josiah Wedgwood, ii., pp. 36,90, 118; Kidson, Leeds Pottery, p. 48
(where an advertisement of Robinson and Rhodes is cited from the Leeds Inttlligencer for
October 28th, 1760). This dish and its companion were presumably decorated at Leeds;
their attribution to Bow as their place of manufacture must be regarded as uncertain.
The signature although phrased " pinxit " probably refers to the printing as well as to
the coloured borders. The subject on this dish, a group of tomtits, figures on plate 73
in The Ladies' Amusement (see p. 2). Nos. 61 and 501 are dishes of similar character
The mark of a cross in red occurs also on a mug ascribed to Bow in the Collection (No. 106) ;
compare note thereon.

B 2

20 BOW.

66. Plate, painted in colours and gilt. Mark, an anchor and dagger in red (No. 9).

About 1770.

Painted with exotic birds and insects in colours, in shaped panels reserved in white and
• outlined with gilt rococo scrolls on a dark blue ground. Wavy edge. Diam. 85 in.

67. Two Pi.ATKS, moulded in relief, painted in colours and gilt. Mark on both, an

anchor and dagger in red. .\bout 1770. (Plate 13.)

Kacli moulded with three sprays of vine with grapes, foliage and tendrils, in the interspaces
between which are painted sprays of fruit ; the rim has a gilt lobed edge. Kach,
diani. y-i in.

68. Plate, painted in colours and gilt, in the style of the bowl in the British

Museum painted by Thomas Craft. About 1760. (Plate 12.)

(fctagonal. The rim is decorated with festoons of conventional flowers ; in the middle are

two Chinese phoenixes and insects. Diam. 8j in.
Church, fig. 18 ; l)illon, 1904, pi. xlv. ; Dillon, 1910, fig. 2j6 ; Mew, pi. v.

69. Two Plates, painted in colours and gilt, in imitation of Japanese Kakiyemon

ware. .About 1755.

Octagonal. In the middle are a /)raiiiis-tree, chrysanthemums and other (lowering plants and
two quails. The rim is painted with floral sprays, and with a border of close red
foliage, with gilt flowers at the angles. W. 8| in., 8i in. respectively.

These are undoubtedly two of the " parteridge octogon plates" mentioned in John Bowcocke's
memorandum -book, some of which were ordered by "Lady Stairs," May 15th, 1756.

Xii. 69a. Burton, English Porcelain, pi. iv.

353. Two Plates, painted in colours and gilt, m imitation of Japanese Kakiyemon
ware. About 1755.

In the middle are a /)Kiin«s-tree, chrysanthemums and other flowering plants and two quails. On

the rim is a border of close red foliage with gilt flowers at intervals. Kach, diam. 9 in.
Compare note on No. 6q.

70. Plate, painted in colours and gilt, .\bout 1770.

In the middle are exotic birds .imong bushes: the rim is painted with insects and lloral

sprays and has a gilt wavy edge. Diam. 8 in.
Compare Bristol porcelain plate, \'o. 753.

71. Two Plates, each painted in red with a cuspcd border, and printed m the

same colour with the subject of Aeneas carrying Anchises from the burning
ruins of Troy. About 1760. (Plate 13.)

The subject is enclosed within a border of rococo scrollwork and ribbons. Each, diam. 7j in.
Given to Lady Charlotte Schreiber by Mr. Hughes of Liverpool, Nov. jth, i86g, see Journals, i,
p. 60, " We saw a few very nice bits at the house of Mr. Hughes the bookseller ; among
these were two Bow plates printed in red, the subject being .tineas carrying his father
out of Troy. With one of these .Mr. Hughes . . . presented us."
Chaffers, fig. 489.

[72. Plate, Worcester porcelain, see p. 91.]

73. Two Plates, printed in black. About 1755.

In the middle of each are two sheep beside a rock. On the rim are three Italian landsc^ipes
with buildings and figures. The edge is coloured brown. Each, diam. jj in.

BOW. 21

74. Two Pl.\tes, printed in dull purplish-black. About 1755.

Each printed with four groups of poultry and pheasants, one in the centre and three on the
rim. Diani. 7I in., y} in. respectively.

[75. Pi-.VTE, Worcester porcelain, sec p. gi.]

76. Two Plates, decorated with prints in brown painted over in colours. About

1770.

In the middle of each is a landscape with two figures and buildings within a rococo-scrolled
border. On the rim, which has a scalloped edge, are insects, small sprays and detached
flowers. Each, diam. yf in.

77. Plate, faintly printed in purple and painted over the print in colours. About

1770.

Octagonal, the rim moulded with foliated scrollwork and decorated with birds ; in the
middle are a bouquet and sprays of flowers and a butterfly. Diam. gj in.

78. Plate, painted in colours in the Chinese style. About 1755.

Octagonal, painted with sprays of flowers and a narrow green border with diaper-pattern in
black. W. 8 in. ■

79. Two Pl.\tes, painted in colours. About 1765.

Both octagonal with brown edge. Painted with a large spray of. fruit and foliage, and n ill:
butterflies and other insects ; on one is also a caterpillar. Each, diam. gf in.

80. Two Plates, with applied relief decoration, in imitation of Chinese (Fuchien)

porcelain, and painted designs, also in the Chinese style. About 1755.

The middle of each is painted with flowering plants and "insects in colours ; the rim is

decorated with applied sprays of ^>-«nHs-blossom, between w-hich are painted floral sprays.

Round the inner edge of the rim is a conventional border in red. Each, diam. y in.
Burlington Magazine, .xxv., illustration facing p. 39.

[81. Plate, Chelsea porcelain, see p. 56.]

82. Two Plates, painted in colours and gilt, .'\bout 1770.

The rim of each has a wavy edge and is moulded in slight relief with conventional flowers
and foliage painted in colours, on a continuous gilt wavy stem ; in the middle is a
group of fruit. Each, diam. 7J in.

83. Deep Plate, painted in colours in the Chinese style. About 1735.

Saucer-shapod. Painted with sprays of tree-peony and other flowers. Brown edge. Diam. 6J in.

84. Plate, painted in underglaze blue in the Chinese style. Mark somewhat

resembling the head of a trident, in blue (No. 12). About 1770. (Plate 13.)
Painted with a river-scene in which are a man fishing from a boat, a fantastic bird on a

rock, and a large flowering plant. Narrow rim with wavy edge. Diam. 5-J in.
This plate is referred by Hobson {Worcester Porcelain, p. 44) to the Worcester factory. The
character of the paste and glaze, however, is very similar to that of the pieces described
in the note tn No. 106 below, whilst the painting resembles that of a mug in private
possession of the same form as Nos. 106 and 564, and, like the latter, marked with an
incised cross. Compare Burlington Magazine, xxv., p. 40.

85. Two Plates, printed in black, .\bout 1770. (Plate 13.)

Each printed with a river-scene in wliich are swans and other aquatic birds. Eacli, diam. $} in.

22 BOW.

86. Punch-bowl, painted in underglaze blue. On the outside are emblems of Free-
masonry in medallions, with the inscriptions "AMOR HONOR ET lUSTITIA,"
"NOUS UIVONS SUR LE OUARRE " and "MEMENTO MORI." Dated
1768. (Plate 13.)

Between the medallions are sprays of flowers somewhat in the Chinese style. Round the
inside is a scalloped border, and on the bottom are a book, compasses, and a set-square.
H. 3J in., diam. 8| in.

[87. S.\ucEBOAT, Bristol porcelain, sec p. 140.]

1 88, 89. Sauceboats, Worcester porcelain, see p. 8q.]

90. Pair of Salt-cellars, painted in blue in the Chinese style. About 1750.

Each in the shape of a large shell, painted inside with a willow, fencing and a rock, and
with a border of cresting ; supported on a three-pointed base composed of smaller shells
and rocks. H. 2g in., 2 J in. respectively ; W. of each, 4„ in.

91. Salt CELLAR, painted in colours and gilt, in the style of Japanese Kakiyemon

ware. .'Vbout 1765.

In the form of a large conventional shell, painted inside with a floral spray and outside with
two quails, flowering /)niKiis-tree and other plants. It rests on rockwork set with smaller
shells. H. 2a '"■> ^^'- 31 '"•

92. Knife-rest, painted in underglaze blue. About 1750.

Painted with flowers and decorated with beading in relief along the edges. L. 2| in.,
W. liin.

93. FiNGER-BowL, printed in black. About 1760. (Plate 13.)

Cylindrical with rounded base. Printed outside with an aquatic scene in which are swans,

ducks, a heron, and other birds. H. 3j in., diam. 4 in.
The pair of swans, which form part of the printed design, figure on pi. 159 of The Ladies'

Amusement {see p. 2).

94. Candlestick, painted in colours and gilt ; copied with modifications from a

.Meissen model designed by Johann Joachim Kaendler. About 1770. (Plate 2.)

In the form of a woman partly clad in flowered drapery, seated on a rococo-scrolled pedestal,
clasping in her arms a naked boy who holds a leafy scrolled stem surmounted by the
grease-pan and socket. H. lOj in.

Mew, pi. xii. Compare also Berling, Aleissner Porzellan, fig. 76.

95. Candlestick, painted in colours and gilt ; on the base are figures of an old

man and a little boy warming themselves at a brazier, emblematic of
Winter. About 1770. (Plate 2.)

The man has a fur-lined purple cloak thrown round him and stands holding his hands towards
the brazier, which rests on a branch of the scrolled stem supporting the grease-pan and
socket of the candlestick. The boy is seated on a stump, drawing round his body yellow-
drapery painted with red roses. The rococo-scrolled base is decorated with applied
flowers and foliage. H. iij- in.

Bought at .Amsterdam, October 4th, i86g, see Jouynals, i., p. 45, "We went to Boasberg's in the
Calverstraat. . . . We purchased ... a fine Bow candlestick representing Winter."

Mew, pi. xii.

256. Pair of Candlesticks. About 1765.

I'.acli is in the form of a naked figure of a boy, with garlands of vine bearing bunches of grapes
twisted about him, holding in one hand a cup and with the other, supported on his head,
a stem which terminates in a foliated nozzle and grease-pan. He is seated on a pedestal
rising from a rococo-scrolled circular base painted with insects. Each, H. 8| in.

BOW. 23

96. juG, painted in colours and gilt, in the Chinese style. The lip has been broken
oflf and replaced in silver. Mark, " p" " in red (No. 7). About 1760.

Pear-shaped body, projecting lip, loop handle, spreading foot. On either side is a yellow bird
perched on the branch of a flowering pomegranate-tree growing on a rock. Round the
rim and foot are floral borders. The handle is painted with a long spray of flowers and
foliage in red. H. 8\ in., diani. 6 in.

Solon, pi. iv.

[97. Jug, Worcester porcelain, see (). 97.]
[98-100. Jugs, Chelsea porcelain, see p. 39.]
[101, 102. Jugs, Meissen porcelain, sec p. 167.]
[103. Mug, Chelsea porcelain, see p. 59.]

104. Mug, painted in colours. Mark, 5 incised (No. 8). About 1760.

Inverted bell shaped, with scrolled loop handle and spreading base. Painted on one side with

two birds and a tree, on the other with a bouquet of flowers. H. 5J in., diani. 3^ in.
Similar in style to No. 57.

105. P.^iR OF Mugs, painted in colours in the Chinese style. About 1760. (Plate 13.)

Cylindrical, expanding slightly at the base, with loop handle. Painted with a pheasant
standing on a rock on which grow flowering plants. Each, H. 3^ in., diam. 3 in.

The attribution of these pieces to Bow is doubtful. The pattern is that of a service said to
have been made for Sir Joshua Reynolds at Worcester ; see note on No. 508.

106. Mug, printed in black and painted over the print in colours. Mark, a cross in

red (No. 11). About 1770. (Plate 13.)

Cylindrical, expanding slightly at the base, reeded loop handle. Decorated on the front wilh

a flowering tree in the Chinese style. H. 4° in., diam. 3I in.
This mug is of the same form as one in the Museum (N'o. 3147— 1901), marked with a
faintly incised cross and painted with a Chinese landscape in blue, which, together with
a cylindrical bowl (Xo. 3777 — 1901). painted by the same hand with a similar landscape,
has been ascribed to the factory at Isleworth, in Middlesex. This factory is said to have
been carried on from 1760 for about forty years. The authority for ihis attribution is
unknown. The bowl referred to is marked with an open capital " I " above three dots in
blue. A characteristic conmion to all these pieces and to No. 564 (described below) is
the opacity of the paste, a feature of the later porcelain of Bow. Two bowls in the
British Museum, reputed to be of Isleworth porcelain, are of a different character. The
mark of a cross in red occurs also on one of a pair of dishes (No. 65) described above.
The question is fully discussed in the Burlington Magazine, xxv., p. 39, where this mug
and No. 564 are reproduced.

564. Mug, printed in black. Mark, a cross incised. About 1770. (Plate 13.)

Slightly bell-shaped, with reeded loop handle. Printed with two parrots perched on branches

above a group of grapes and other fruit. H. 4f; in., diam. 3:] in.
This piece was formerly ascribed to Worcester. '1 he form of the handle and the opaque
character of the paste indicate that it was probably made at How in the later years of
the factory ; compare note on No. 106. .\ mug of somewhat similar form with painted
decoration, incised with the initials "RB" and ascribed to Bow, is in the British
Museum. Part of the subject of the decoration, consisting of a single parrot and fruit,
reversed, with modifications, occurs on a blue-printed Caughley porcel.iin mug in the
Museum (No. 3348 — igoi).
Burlington Magazine, xxv., illustration f.icing p. 39.

107. Mug, painted in colours. .About 1760. (Plate 13.)

Cylindriial, spreading slightly at the base, loop handle. Painted wiiii i-\otic birds among
fruit-trees, and with a conventional border in red II. 5J in., diam. 4J in.

-4

ROW.

fl08. Mug, Lowestoft porcelain, see p. i6o.]

109. Ml'G and Covek, painted in colours and gilt. About 1760. (Pl.\ti; 13.;

liell-sliaped, with loop handle. On the front is a crest, a goat's head erased, within a frame-
work of gilt rococo scrolls. On one side are flowering trees and sheaves, on the other
and on the cover are sprays of flowers, imitated from designs on Japanese Kakiyemon
ware. Round the top and' the edge of the cover is a border of cresting in red and gold.
The cover is surmounted by a figure of a pug-dog. H. 8J in., diam. 4I in.

Journals, ii., illustration facing p. 360.

[110. Mug, Bristol porcelain, see p. 141.]

368. Mug, painted in colours and gilt. Mark, an anchor in red ; another mark,
probably a dagger, has been ground off. About 1770. (Pl.\te 13.)

Bell-shaped with loop handle, painted on either side with a group of fruit in colours in a shaped
panel reserved on a dark blue ground and surrounded liygilt rococo scrollwork and floral
sprays. H. 4JJ in., diam. 3I in.

191. Water-bottle for a washstand, painted in underglaze blue, with a powdered
blue ground in imitation of Chinese porcelain. About 1765.

Bulbous body with long narrow neck and convex swelling below the mouth. Decorated with
Chinese landscapes and flowers within three fan-shaped panels and six smaller circular and
heart-shaped panels, reserved in white on the blue ground. The convex ring is painted with
Chinese diaper ornament. H. iij in., diam. ^J in.
Compare Nos. 64, 514, 515.

111. Pair of Goblets, painted in colours. About 1760.

Ovoid body, small foot; painted with a bouquet of various flowers on one side and a spray

of narcissus on the other, and with small sprays of flowers and foliage on the remaining

surface. Each, H. 55- in. ; diam. 43 in., 4' in. respectively.
Doubtfully attributed to Bow.

[112. Tea-pov, Lowestoft porcelain, see p. 160.]

113. Tea-pot and Cover, printed in purplish-brown and painted in colours ; on one

side is printed an equestrian figure and on the other a half-length portrait
of Frederick the Great, King of Prussia, with the words " the Prussian
Hero," repeated. The latter is copied with slight modifications from a
portrait in the possession of Graf von Hochberg, at Rohnstock, painted by
Antoine Pesne and engraved by J. G. Wille. About 1756. (Plate ii.)

On the front of the body below the ribbed spout, which is painted with sprays of flowers,
and on the cover, are printed trophies of arms. The loop handle is in the form of a
branching stem, from which spring two sprays of flowers and foliage applied to the
body and painted in colours. The handle of the cover is also in the form of a small
steni with coloured flowers and foliage. The equestrian portrait shows the king riding
to the left on a battlefield, with a dead soldier on the ground before him. .^bove the
bust portrait are figures of Fame with two trumpets and a cupid with a wreath and
a lance. H. 7I in., diam. 6 in.

Probably made about the time of Frederick the Great's successes in the Seven Years' War,
and his convention with England in 1756 against France and her .Mlies. The same
bust-portrait is painted on a Battersea enamel snuff-box in the Collection, .\o. 1555.
Compare Friedrich cler Crosse in der Kiiiist, pi. 9, p. 17.

Chaffers, fig. 486.

114. Tea-pot and Cover, jiainted in colours in the Chinese style. About 1755.

Barrel-shaped with loop handle, si.\-sided curved spout, and two lines of beading in relief
round the body. Painted with sprays of tree-peony and chrysanthemum and insects.

l^OW. 25

[115. Tea-pot, Worcester porcelain, sec p. 108.J

[II6. Tea-pot, Meissen porcelain, see p. 167.]

[117. Tea-pot, Longton Hall porcelain, ace p. 122.]

[II8. Tea-pot, Worcester porcelain, sec p. 109.]

119. Tea-pot and Cover, painted in colours. About 1750. (Plate 13.)

Moulded in the form of large overlapping leaves with looped stalk forming the handle. The
leaves are tinted green, with brown or crimson midribs, veins and edges. In the
interstices between the leaves are a caterpillar and other insects. H. 4^ in., \V. 4^ m.

The attribution to Bow is uncertain.

[120, 121. CoEFEE-POTS, Chelsea porcelain, see pp. 58, 59.]

[122. Jug, Caughley porcelain, see p. 150.]

[123. Toy Tea-set, Lowestoft porcelain, see p. 160.]

[124, 125. Cups and Saucers, Worcester porcelain, see p. 118.]

126. Tea-cup, Coffee-cup and Saucer, painted in colours. About 1770.

All three pieces are painted with a landscape, in which are ruined buildings, and edged
with brown. The tea-cup has no handle. Tea-cup, H. if in., diam. i| in.; coffee-cup,
H. 2' in., diam. 2J in.; saucer, diam. 4I in.

These pie'ces may be compared with the dishes No. 62, which are marked with the anchor
and dagger.

127. Cup and Saucer, painted in colours and gilt, in imitation of Japanese Kaki-

vemon ware. About 1760.

Both pieces are painted with pomegranates, insects, and sprays of flowers. Cup, H. 2] in.
diam. sf in. ; saucer, diam. 5 in.

128. Coffee-cup and Saucer, moulded in relief and painted in underglaze blue

in the Chinese style." About 1770.

Both pieces are moulded with scale-pattern and painted with a border of diaper ornament.
The handle of the cup is in the form of a branching twig ; in the middle of the s.aucer
is painted a floral spr.ay. Cup, H. 2| in., diam. sj in. ; saucer, diam. 5; in.

From the same mould as a cup and saucer in the Museum (\'o. 2890— 1901) marked with the
anchor and dagger.

[129, 130. Cups and Saucers, Lowestoft porcelain, see p. 159.]

131. Bowl, printed in purplish-black, partly from plates by Robert Hancock. About

1755-

Printed inside with two figures beside a fence (now almost obliterated by wear) and outside
with the four following subjects :— A tea-party in a garden, combined .with a group
of children playing with a wheeling chair ; tw^o beggar women w ith children ; a gallant
kissing a ladv's hand {L'Amour) ; and birds on a tree. H. 3; in., diam. 8i in.

Compare Hobson, Worcester Porcelain, p. 72. The tea-partv group differs from that which
occurs on Worcester porcelain (c.^'., No. 668 in the Collection), the lady and gentleman
being attended by a negro page carrying a kettle; this version, with the signature of
Hancock, printed on an enamel watch-back assumed to have been made at Battersea, is
reproduced in Jewitt, i., p. 234, fig 518. From this it appears possible that the printing
on Bow porcelain may have been executed at Battersea ; compare p. 6 above. For the
print of L'Aninur, compare note on No. 607.

26 BOW.

330. Pair of Tuueens and Covers, each in tlie form of a partridge sitting on a nest,

with stands, painted in colours. Tlie tureens are copied from a Meissen model.
About 1760.

The nest is bordered wilh a wreath of ilowcrs and ears of wheat. The oval stand is painted
with sprays of flowers in the middle and a brown border round the shaped rim. Tureens
with covers, H. 4! in., L. j\ in. ; stands, I,. 8 in., W. 6^ in.

In connection with these tureens may be cited an entry in the memorandum-book of John
Howcocke, dated July 24th, 1756, "To buy a partridge either alive or dead." Partridge
tureens were also made at Chelsea, and occur in the Chelsea sale catalogues of the
period, e.g.. No. 59 in that of March 29th, 1756.

Bought at Brussels, March 4th, 1872, see Journals, i., 132, "Then went the round of all the shops,
amongst which we laid out about £\o very much to our own satisfaction reckoning that we
had secured objects worth nearly £^o. Among them was a pair of partridges on their
nests with stands painted in bouquets— very perfect and all of old Bow."

Mrs. Hodgson, pi. 2. Compare also Hirth, Deutscit Tanagra, ii., pi. 26, No. 30.

331. Pair of Tureens and Covers, each in the form of a partridge sitting on a nest,

with stands, painted in colours. Mark, inside one of the tureens and one of
the covers 10, inside the other cover 3, in purple. About 1760.

The nest is bordered with leaves and twisted stems. The oval stand is painted with a bouquet
and sprays of flowers in the middle and a brown border round the wavy rim. Tureens
and covers, H, 3I in., 3^ in., L. 5* in., 5 in. respectively ; stands, L. 7^ in., 7 in. respectively,
W. 5J in.

Compare note on No. 330.

359. Dessert-basket and Stand, painted in colours. About 1760.

The basket has two twisted loop handles rising above the rim, with flowers applied at the points
of attachment ; the sides are of openwork, curving outwards, with rosettes in relief at the
intersections. Inside, on the bottom, is a bouquet. The stand is moulded in the form of
vine-leaves (on which are painted bouquets), laid over one another on a tray with openwork
rim decorated with rosettes at the intersections. Basket, H. 3^ in., W. 6j in. ; stand,
diam. 8J- in.

669. Tea- CUP and S.\ucer, printed and painted in crimson, and gilt. About 1760.

Both pieces have a wavy edge and a border of basketwork pattern moulded in relief Out-
side the cup and in the middle of the saucer is a group of children, playing in a land-
scape, printed and touched up by painting. The cup has no handle, and is painted in colours
inside in the bottom with a butterfly. Cup, H. i| in., diam. 3I in. ; saucer, diam. 5^ in.

Doubtfully attributed to Bow.

132. Oval Mould of porcelain, impressed with a spray of prunus-hXossom and foliage,
used for moulding sprigs to be applied as relief decoration. Found by
Lady Charlotte Schreiber in March, 1868, in excavations on the site of the
Bow porcelain works, then occupied by Messrs. Bell and Black's (later, Bryant
and May's) match factory. L. 3 in., W. 2\ in.

Jcwitt, lig. 409 ; Chaffers, Marks and Monograms, 13th edit., I'lg. 13, p. 9^3. See note on .\o. 132(1.

132a. Twenty-seven Fragments of Vessels, found by Lady Charlotte Schreiber in

March, 1868, in excavations on the site of the Bow porcelain works, then

occupied by Messrs. Bell and Black's (later, Bryant and May's) match factory.

Seventeen are unglazed " wasters " from the kiln, one consisting of two portions of cups

adhering together. Four have moulded relief decoration ; five are ornamented with

applied sprays of />ra««s-blossom in imitation of Chinese (Fuchien) porcelain ; six others

are painted in blue in the Chinese style. Largest fragment, VV. 3J in.

Compare Jewitt, i., p. 203. Chaffers, Marks and Monograms, 13th edition, p. 935.

BOW. 27

§ 6. PIECES FOR DOMESTIC USE, WHITE.
Nos. 135-163.

The following pieces are left unpainted ; most of them have relief
decoration, either cut in the mould in which the object was shaped,
or moulded separately and applied to the surface.

[133, 134. Busts, Chelsea porcelain, see pp. 31, 32.]

[135-137. FiGURi-s, Bow porcelain, see p. 14.]

[138-140. Figures .vnd Groups, Clielsea porcelain, see p. 32.]

[141-143. Figures, Bow porcelain, see p. 15.]

[144, 145. Figures, Chelsea porcelain, see pp. 32, 33.]

[146-149. Figures, Bow porcelain, see p. 15.]

[150. Figure, Chelsea porcelain, see p. 33.]

[151. Figure, Bow porcelain, see p. 15.]

152. JAR AND Cover. About 1755. {Plate g.)

Ovoid with vertical grooves ; round the middle are festoons of drapery hanging from rings in
relief. On the top of the cover is a group of foliage and fruit. H. 5I in., diam. 3I in.

[153. Pair of Pedestals, Chelsea porcelain, see p. 33.]

154. Pair of Sweetmeat-dishes. About 1755. (Plate 9.)

Each in the form of a conventional shell, encrusted with three murex shells forming supports,
a limpet, other smaller shells and coral. Of the same model as No. 90. H. 3J in.,
W. 5^ in.

No. I54«, Solon, fig. 2.

155. P\iR OF Salt-cellars. About 1750. (Plate 9.)

Kach in the form of a large shell resting on a heap of smaller shells and barnacles. II. 2J in.,
W. 4J in., 45 in. rospertively.

156. Mug, decorated with applied sprays of /jruHHS-blossom moulded in relief, in

imitation of Chinese (Fuchien) porcelain. About 1755.

Bell-shaped, with loop handle terminating in a heart ; decorated with Ihrce large and four
smaller />r!ini(ssprays. II. 6J in., diam. 4^ in.

[157. Crea.\i-jug, Chelsea porcelain, see p. 33. J

28 BOW.

158. CuEAM-STOOP, in the form of a wooden piggin, with spoon, decorated with

applied sprigs of pruiius-blossom in relief, in imitation of Chinese (Fuchienj
porcelain. About 1755. (Plate 9.)

Cylindrical, with thrce-puinted handle rising vertically above the rim. The spoon lias a
round reeded bowl and long curved handle. H. 2| in., diam. 2] in. ; spoon, L. 3} in.

159. TuA-POT AND Cover. About 1755. (Plate g.)

Globular body moulded in relief on either side with sprays of conventional roses ; the cover
is decorated with sunilar sprays. The spout and loop handle are ornamented with
scrolls. H. 5J in., diam. 4J in.

[160. Cup and Saucer, Chelsea porcelain, see p. 33.]

[I6I. Cups, Ciielsea porcelain, see p. 33.]

162. Tea-cup, Coffee-cup and Saucer, decorated with applied sprays of pruniis-

blossom in relief, in imitation of Chinese (F"uchien) porcelain. About 1755.
(Plate g.j

The tea-cup and saucer have a wavy rim ; the former has no handle. The coffee-cup has
a scrolled loop handle. Tea-cup, H. i\ in., diam. 2j in. ; coffee-cup, H. 2J- in., diam. 2 J in. ;
saucer, diam. 4I in.

163. Two Coffee-cups, decorated with applied sprays of /jrwiiHs-blossoni in relief,

in imitation of Chinese (Fuchien) porcelain. . About 1755.

Each, H. 2.1 in., diam. 2.5 in.

164. Two Egg-cups, decorated with applied sprays of ^laoiKs-blossom in relief, in

iinitation of Chinese (Fuchien) porcelain. About 1755. (Plate 9.)
Each, H. 25 in., diam. 2 in.

165. Eight Knife-handles, moulded in relief. About 1755.

165. Of pistol-butt form, moulded with flowers and foliage on interlaced stems. L. 4} in.
165a. Of pistol-butt form, moulded with a conventional tloral stem on a dotted ground.

L. 4 in.
165b. Of octagonal section, with end curving to a sharp edge. Moulded with conventional

flowers and scrollwork L. 35 in.
165c Similar to No. 165. L. 3.5 in.

ib-fd. Of pistol-butt form, moulded with conventional scrollwork and floral sprays. L. 3I in,
165^. Of pistol-butt form, moulded with floral stems enclosed by reeding. L. 3f in.
165/. Of pistol-butt form, moulded with sprays of Chinese /lyuHHS-blossom. L. 3J in.
165^. Of pistol-butt form, moulded with flowers and foliage on interlaced stems. L. 3 in

II.— CHELSEA.

THE date of the foundation of the porcelain works at Chelsea and the
name of their founder are alike unknown, but two milk-jugs with
the name " Chelsea " incised on the base, the earliest known pieces
of English porcelain bearing a date,^ prove that the factory already existed
in 1745, and, to judge by the quality of their technique, that it could not
at that time have been quite recently established. In its earlier years
the factory enjoyed the patronage of George II. and his son, the Duke
of Cumberland.- The first proprietor and director of whom any mention
has been preserved was Charles Gouyn ; from a newspaper announce-
ment of January, 1750, it may be inferred that he had then been lately
succeeded in the management of the factory by Nicolas Sprimont, a
silversmith, of Compton Street, Soho. Both Gouyn and Sprimont
were probably of Flemish nationality, though the latter is described by
Horace Walpole as a Frenchman.^ In 1769 Sprimont was obliged, on
account of ill-health, to abandon his position and to sell the works to
.one James Cox. In the following year they again changed hands and
were sold to William Duesbury and John Heath, of Derby, the former of
whom in 1776 acquired also the factory at Bow.* The objects made at
Chelsea between 1770 and 1784, the year in which the factory was finally
■closed and dismantled, are described under the heading of Chelsea-Derby
porcelain.^

The earliest porcelain made at Chelsea, of a very translucent creamy
paste resembling f)paque white glass, may be identified by the help of the
milk-jugs with the date 1745 already mentioned. The models were in
many cases derived from silversmith's work*"' ; painted decoration in the
form of scattered sprays or small detached flowers was sometimes sparingly
introduced.^ The mark employed was a triangle incised in the paste.**

About the middle of the century, presumably at the time of the change
in the management, another type of paste appears to have been introduced,
of denser texture and colder appearance, the glaze in plain white pieces
being often distinctly blueish in tone." The mark on productions of this
second period consists of a small oval medallion applied to the surface

^ See Archaeological Journal, vol. xix. (1862), p. 343.
- Compare No. 133. '' See note on T<o. 254 ; compare also Cliuicli, p. 18.
^ See p. 4. ■' .See p. 65. No. 157." ' No. 333. " No. 157.

'•• Nos. 134, 138, 139, 150.

30 CHKLSEA.

with an anchor in relief upon it. Statuettes began to be made in con-
siderable quantity, among them figures of birds and animals in imitation
of, tliougli not directly copied from, those made at Meissen, generally
coloured after nature with some attempt at realism. ^ Vases and " useful "
ware were painted cither with scattered bouquets and insects in the
manner of Meissen porcelain of the period' or in Oriental style. For the
latter the designs were derived mostly from the Japanese porcelain of the
school of Kakiyemon.^ Chinese porcelain was less frequently imitated.*

These styles were continued through the following decade, at an early
date in whicli a painted anchor, generally in red over the glaze,^ replaced
the anchor in relief as the mark of the factory. That the two marks were
for a time used concurrently is shown by a pair of figure (No. 167) bearing
one the earlier, the other the later form of mark ; the same inference is
supported by the occurrence of the anchor in relief picked out in red.'"'
The developments of style may be followed with the aid of the announce-
ments of the periodical auction sales at which the output of the factory
was offered to the public. In 1734 the first mention of scent-bottles and
other small trinkets occurs in announcements which appeared in the
Public Advertiser of the sale, "by order of the Proprietors of the Chelsea
Porcelain Manufactory" of "AH the entire Stock of Porcelain Toys,
brought from their Warehouse in Pall Mall; consisting of Snuff-boxes,
Smelling-bottles, Etwees and Trinkets for Watches (mounted in Gold
and unmounted) in various beautiful Shapes, of an elegant Design, and
curiously painted in Enamel." Objects of this description continued to
be made until the closing of the factory and afterwards by Duesbury
at Derby ; the specimens in the collection^ are shown by their style
of decoration to cover the whole range of dates.

The figures made between 1750 and 1760 are characterised by delicacy
of modelling and restrained colouring.^ Bouquets of flowers, landscapes,

' No. 150.

- Nos. "245, 334, 335, 37S, 386, 401. It appears that in 1751 pieces of Meissen
porcelain, then in the charge of Henry Fox, afterwards Lord HoUand, at Holland House,
Kensington, but the property of Sir Charles Hanbury Williams, British Plenipotentiary
at Dresden, were lent for copying at Chelsea to Sir Everard Faulkener, who was
interested in the factory. See letter from the Earl of Ilchester in the Burlington Magazine,
vol. XX. (1911-12), p. 361.

^ Nos. 375, 382, 383, 403, 405. At a later date the so-called " Imari ware" of the
Arita kilns was copied; compare No. 337. It is probable that some of the Chelsea
vases in Japanese style were copied not from Japanese originals but from imitations of
them made at Meissen.

* Nos. 349, 373. ° Nos. 219, 3.(0, 373, &c. '■ Nos. 206, 210, 211, tScc.

'< Nos. 262-327. ** Nos. 167, 171, 173, 175, 208.

CHELSEA. 31

and tigures of birds or insects distributed irregularly over the surface, are
the favourite motives of decoration on the " useful "' wares.

In a sale catalogue of 1756 the first mention is found of mazarine-blue,"
the earliest of the rich ground colours imitated from the Sevres porcelain
of the period but originated at Meissen in the earlier stages of that factory.
This is followed in 1759 by pea-green, in 1760 by turquoise-blue- and
claret-colour.^ These innovations were accompanied by an entire change
in the character of the wares. Extravagance of modelling with elaborate
rococo scrollwork, sumptuous colouring and profuse gilding supersede the
relatively simple decoration of earlier times, while the even cream-coloured
glaze gives place to a glass-like glaze of greenish tone \\hich collects in
thick drops or pools of liquid appearance wherever an angle or hollow
affords it lodgment.

The set of groups modelled by the French sculptor Roubiliac* may be
cited as characteristic examples of this style, the date of which is
indicated by the service made in 1763 as a gift from Queen Charlotte to
ihe Duke of Mecklenburg-Strelitz^ and the large mazarine-blue vases
presented in the same year to the British Museum. Very shortly after
this a reversion to a simpler taste, illustrated by the figures of Conway,
Wilkes and Chatham,'' anticipates the subdued colouring and classical
forms which were in vogue after 1770. From about 1759 onwards the
mark ordinarily used was an anchor in gold"; this continued in
occasional use at Chelsea for some time after 1770. An exceptional mark
is that of the crossed swords in imitation of the Meissen mark.'''

sj I. STATUETTES AX I) BUSTS, WHUTE.

Nos. 133-132.

These pieces all date from about the middle of the iSth century.

133. Bust of Willi.\m .Xugustus, Duke of Cumberland, second son of King George II.,
patron of the Chelsea factory (b. 1721, d. 1765). About 1750. (Plate 14.)

Tlic duUe is wearing a breastplate and tlie ribbon of an order. The bust has a turned wood

pedestal. Bust, H. 4I in. ; pedestal, sight measure, H. 35 in., diam. 3 in.
Similar busts occur with the mark of an .inchor in relief.

1 Nos. 241, 250, 251, 254, 257, 264, 283, 347, 362, 389, 398, 439.

- No. 258. •■' Nos. 239, 336.

' Xos. 192, 193, marked with an impressed " R"; compare also note on No. 178.

' No. 254. " Nos. 200-202.

Nos. 196, 246, &c. ; the red anclior is of rare occurrence on pieces of this period.

** No. 401.

32 CHELSEA.

134. Bust or King Gilorgic II. (1727-1760), on detached pedestal. .\bout 1750.
(Pl.vte 14.)

Tlie king wears a large wig and a loose cloak clasped in front over an embossed cuirass ; the
Order of the Garter is partly concealed by the cloak. His head is turned towards the left.
The pedestal has a bowed front with a moulded panel. H. lyi in., W. iif in.

'l"he bust was formerly erroneously described as being copied from a statue by Rysbrack in
Oueen's Square, IJristol ; this statue, however, represents King William III., in whose
memory it was erected in 1736. A statue of George II. by Rysbrack at Greenwich, executed
in 17^5, represents the king as a Roman Emperor; it is possible that the present bust
may be copied from a statue by Rysbrack made for the old Royal Exchange and
presumably destroyed when that building was burnt down in 183S. A similar bust in
the British .Museum is figured in Solon, fig. 7. .\nother on loan in the National Museurn,
Dublin, rests on a wall-bracket, also in porcelain, of rococo style, with figures of Britannia
and Cupid modelled in high relief; illustrated in Bulletin, ii, part iii, pi. vi.

Bought in Edinburgh, in October, 1869 ; see Journals, i , p. 57, " Lady Hopetoun took us
into Edinburgh to the shop of one Butti in Oueen Street. The first thing that met the
gaze of the delighted C. S. was a Plymouth "bust (with pedestal) of King George II.,
exactly the same as that which belonged to the late Dr. Cookworthy, of Plymouth,
which came to him from the manufacturers and which he has left as an heirloom in the
family. Butti (knowing nothing of its extreme value) sold it to us for £$." The
mistaken attribution to Plymouth appears to be b.Tsed upon Jevvitt, i., p. 333.

[135-137. Figures, Bow porcelain, see p. 14.]

138. Nurse with .\ Child. Copied from statuettes made from a model by Barthelemy

de Blemont, at Avon, near Fontainebleau, late in the i6th century. Mark, an
anchor in relief on an applied oval medallion. About 1750. (Pl.a.te 15.)

She is dressed in costume of the i6th century, seated on a low pedestal, with the- child wrapped

in swaddling-clothes on her lap. H. 7J in.
.\ " Chellsea nurs " is included in the list of figures enamelled by William Duesbury in 1751-3 :
see Bemrose, Bow, Chelsea and Derby, p. 17. Three examples of this figure are cited in the
Archaeological Journal, xix. (1S62),' p. 343. The original figure is sometimes erroneously
attributed to Bernard Palissy and described as the " Xourrice de Francois Premier."
Compare Delange, CEuvre de Bernard Palissy, pi. 8g ; Solon, French Faience, p. 35 ;
Papillon, Guide du Musec Ceramique, Sevres, illus. on p. 54.

139. Hercules and Omphale. Copied with slight modifications from an engraving

bv Laurent Cars after a picture painted in 1724 by Francois I,emoyne, now
ill the Musee du Louvre, Paris. About 1750. (Pl.\te 16.)

Hercules is seated on a rock with drapery hanging loosely about him, while Omphale stands
beside him girt with the lions skin, her right arm thrown round his neck and her left
supporting his club. H. Sf in.
In the sale, bv Mr. Christie, of the stock. in-trade of Mr. Thomas Turner in 1767, "a fine white
Chelsea "group of Hercules and Omphale" fetched £1 is.; see Xightingale, p. xxxviii.
Compare also Mantz, Boucher, p. 18. A similar model w-as produced at Ludwigsburg ;
see Wanner-Brandt, Alt-Ludwigsburg, fig. 66.

140. Group, representing a Chinaman about to chastise a little boy. .Vbout 1745.

(Plate 17.)

The man wears a large hat, and a long cloak thnjwn over an ample mbo. and has very long

moustaches. The boy is clad in a long robe and pointed cap. H. gj in.
Solon, fig. I.

[141-143. Figures, Bow porcelain, see p. 15.]

144. Pair oe Figures of Sphin.xes. Mark on the front of tlie base, an anclior in
relief on an applied oval medallion. About 1750.

Each is represented in a recumbent attitude on an oblong base. ICach, H. 3i in., L. 6 in.

CHELSEA. 33

145. Lion. About 1745.

Recumbent on an oval base. H. ji in., L. 4 in.

[146-149. Figures, Bow porcelain, see p. 15.]

150. Candlestick, in the form of a figure of a stork, made in imitation of a Chinese
porcelain joss-stick holder. Mark, an anchor in relief on an applied oval
medallion (No. 16). About 1750.

Standing pluming itself beside a tree-stump. H. gj in.

" 2 cranes as candlesticks " figure in the catalogue of the stock-in-trade of Thomas Turner sold
by Mr. Christie in 1767; see Nightingale, p. xxxviii.

[151. Figure, Bow porcelain, see p. 15.]

[152. Jar, Bow porcelain, see p. 27.]

§ 2. PIECES FOR DOMESTIC USE, WHITE.
Nos. 153-166.

These pieces are decorated only with ornament in relief, moulded or
applied to the surface ; they all date from about the middle of the
18th century.

153. Pair of Pedestals, nmoulded in relief. Mark, an anchor in relief on an oval
medallion applied to one side at the top. About 1750.

Square with moulded cornice and plinth ; on each side is a spray of flowers hanging by a
ribbon in a rococo-scrolled panel. Each, H. 3 in. ; i| in. square.

[154-156. S\vEETME.\T-DiSHES, Salt-cellars AND MuG, Bow porcelain, see p. 27.]

157. Cream-jug, moulded in relief. Mark, a triangle incised (No. 15). About 1745.
(Plate 14.)

The jug is supported on the backs of two goats lying down, and has a handle in the form of
a leafy oak-twig. In front under the lip is an applied spray of flowers. H. 4I in.,
W. 2| in. . ,

Another similar jug, with the mark "Chelsea 1745' accompanied by a triangle incised, is
figured by Jewitt, i., p. 193. The pattern is copied from silversmith's work ; a version
of it in silver, with the London hall-mark for the year lyiJ-S, was formerly in the
Willett Collection.

[158, 159. Cream-stoop and Tea-pot, Bow porcelain, see p. 28.]

160. Cup and Saucer, moulded in relief. Mark on the cup, a triangle incised.

About 1745.

Tlie cup has no handle and is mouldod in the form of twisted overlapping leaves ; the saucer
is decorated with a wreath of foliage. Both pieces have a scalloped rim. H. i^ in.,
diam. 2J in.; saucer, diam. 4^ in.

161. Two Cups, moulded in relief. About 1750. (Pl.\te 14.)

l)p((.ratcd with fluting, over which are curved sprays of flowers in relief springing from the
base. Expanding rim with wavy edge. Each, H. 2j in., diam. 2| in.

34 CHKI.SKA.

[162-165. Cups, Sal'ckrs, Egg-cups, and Knifr-handlis, Bow porcelain, sec p. 28.]

166. ScENT-iioTTLE AND STOPPER, in the form of a figure of a boy with a goat.

Copied from a Meissen porcelain model. About 1755. (Plate 14.)

The goat is attempting to butt the boy, who stands hf)l<!ing one of its horns beside a tree-
trunk festooned with vine. H. 4 in.
Compare Fischer, Sammlung Alt-Meissticr Porzelliin, pi. .xxii., No. 477.

[I'or other scent-bottles in plain wiiitc Chelsea porcelain, see Nos. 279, 301, pp. 49, 52.]

§ 3. STATUETTES AND GROUPS, COLOURED.
Nos. 167-205.

These pieces are all painted in enamel colours over the glaze. Except
in the case of three of the earliest examples Nos. 167, (171, 17.5,) gilding
has also been added ; in the later pieces it is profusely applied and
highly burnished.

167. Pair of Figures of dwarfs, a man and a woman. Mark, on the former, an

anchor in relief, painted in red, on an applied oval medallion ; on the latter,
an anchor in red. About 1755. (Plate 18.)

The man wears a high conical hat with feathers on one side, a tunic with slashed yellow
sleeves and big black buttons, a pink fringed belt, and black shoes, and carries a sword
at his right side. The woman is dressed in a white cap and bodice, flowered skirt, and
red shoes, and stands on a base with applied flowers and foliage. H. 65 in., 5j in.
respectively.

Figures from the same model afterwards made at Derby are described, under No. 227 in the
price list of that factory, as a "Pair Clrotesque Punches"; see Haslem, p. 175.

Acquired by Lady Charlotte Schreiber in August, 1869, see Journals, i., p. 36, "On the 28th
Mr. Emerson Norman of Norwich came. . . . He brought up with him a Chelsea figure
of a dwarf, in a large hat (marked with a raised anchor) and a female figure to match
(marked with a red anchor) . . . These we obtained in excliange .... These
figures are a great addition to our collection."

168. Pair of Figures. A pedlar and his wife. .About 1760. (Plate 19.)

Both figures stand supported by a tree-stump on a round base, with applied flowers and
foliage. The man has a basket of bottles slung in front of him ; he is dressed in a fur
cap, long greenish-blue fur-lined coat, white waistcoat, and blue and yellow striped
breeches. His wife carries a box of trinkets fastened round her waist, and wears a white
cap, red cape, purple dress, and flowered petticoat. H. io| in., 10 in. respectively.

Exhibited in the Loan Collection at the Salisbury and South Wilts Museum, Salisbury, in
1872; see Read, Porcelain Statuettes, p. 16S.

Chaffers, fig. 505.

[l69. Figure, Longton Hall porcelain, see p. 121.]

170. Group. Tlie three Maries. At the back is a socket for the insertion of a wooden
cross. About 1760. (Plate 19.)

The Virgin stands with clasped hands, wrapped in a turquoise blue cloak over a flowered
robe. One of the other Maries stands behind her, with right arm stretched out as a
support to the cross, whilst the third is seated in contemplation at her side. H. 10^ in.,
W. g\ in.

Chaffers, fig. 50G.

CHELSEA. 35

171. Leda and the Swan. Adapted from a painting by Francois Boucher, exhibited

in 1742, now in the National Museum, Stockhohii. Mark, an anchor in red.
About 1755. (Pl.ate 20.)

Leda is seated on a tree-stump, slightly draped in a pink mantle, looking down with a
gesture of surprise at the swan by her side; a cupid also stands beside her. H. 63 in.,
W. 6| in.
An attendant nymph in the original composition has been replaced by the figure of Cupid ;
compare Michel, Franfois lioucher, p. 192 ; Nolhac, i-'raiifoi's Boucher, pi. 32. A Sevres
biscuit porcelain group after the same original is in the Museum, Xo. 382 — 1S74.

172. Three Figures of monkeys, copied from Meissen figures belonging to a set

known as the " Affeitkapelle," modelled by Johann Joachim Kaendler, about
1740, as a caricature of the Saxon Court Orchestra at Dresden. Mark on each,
an anchor in red. About 1755. (Plate 18.)

Two are dressed as men, and one as a woman in costume of the period. Both the former
are standing : one, wearing a cocked hat, a yellow short-sleeved tunic, and purple breeches,
is playing a pipe and a side drum ; the other, clothed in a green and purple cap, loose
white shirt, and purple breeches, carries two draped kettle-drums slung on his shoulders.
The female wears a lace cap tied with ribbons and a flowered Watteau dress over a
yellow bodice and skirt ; she is seated in a folding chair, singing from a music-book
open on her knees. All three figures are supported on rococo scrolled bases, with applied
flowers and foliage. H. 6| in., j in., 5I in. respectively.
In the Sale Catalogue of the Chelsea factory for 1736 frequent mention is made of "Musical
figures representing monkies in different attitudes," or " monkies playing on music."
Compare Berling, Meissner Porsellan, p. 92 ; Fischer, Sammlung Alt'Meissiier Porzellan,
pi. xxxvii., figs. 148, 150, 159.

173. Pair of Figures of little girls, emblematic of Painting and Astronomy.

-Mark on each, an anchor in red. .'Vbout 1755. (Plate 18.)

Both figures are draped round the waist, and wear, the one a gold chain round her neck,
from which a mask is suspended ; the other, a necklace and bracelets of pearls, and
sandals. The first holds a palette in her right hand, while with her left she supports a
canvas painted with figures in a landscape. The second holds up with her left hand
a panel, on which below a landscape are astronomical signs. Each stands on a mound
with applied flowers and foliage. H. 5j in., 5§ in. respectively.

174. Masked Man dancing with a woman ; copied with modifications from a Meissen

group modelled about 1740 by Kaendler. Mark, a small anchor in red.
About 1755. (Plate 18.)

The man wears a wide plumed hat, parti-coloured mask, white tunic with turquoise-blue
sleeves, pink breeches, and blue shoes ; the woman has her hair in two long plaits, and is
dressed in a purple bodice laced in front, white apron, yellow skirt, and red shoes. The
group is supported on a rococo-scrolled base, with applied flowers and foliage. H. 7 in.

Probably from tlie same model as the "beautiful group of figures of a man and woman dancing,"
which appears in the Sale Catalogue of the Chelsea factory for March 31st, 1756. A " p'
of Mascoraders ' occurs in the list of figures enamelled by William Duesbury in i75i-3.

liought in Paris on February 20, 1878, see Journals, ii., p. 112, "Through the intervention of
Wanitz, we became possessed, of a lovely Chelsea group of Waltzers, which we had sefn
at Caillot's in the morning." Compare also Berling, .\/msiie>- Porsellan. fig. 86 ; Fischer,
Sammlung Alt-Meissner Porzellan, pi. ii., No. 952 ; Bemrose, Botv,Chelsea and De) by Porcelain,
p. 17.

175. Flower-holder, in the form of two bovs struggling with a fish. .About 1755.

(Pl.\te 18.)

Two boys with pink drapery partly thrown over them struggling with a large fish. Tlie group

is supported on a rocky base on which are applied flowers and foliage. H. SJ in.
" A fine white group of boys and fish " was sold ns part of the stock of Mr. Thomas Turner,
•'Chinaman,' at Christie's, in 1767; see Nightingale, p. xxxviii.

C 2

CHELSEA.

176. Pair of Statuettes, known as the " Ranelagh figures"; a young man holding

in liis left hand a letter inscribed " Domince Liicreticv," and a lady with a
miniature of a gentleman suspended by a ribbon from her shoulder. About
1760. (Plate 21.)

The man wears a plumed cocked hat, yellow-lined green cloak over a flowered doublet,
white breeches and yellow shoes, and stands against a pedestal between two tree-
stumps, on a rococo-scrolled base. His companion is dressed in a fur-lined green cloak
falling loosely from her shoulders, a crimson bodice and yellow shoes, and is supported
by a tree-stump ; she holds a bunch of flowers in her right hand. Both figures are
supported on a rococo-scrolled base. H. iif in., I2| in. respectively.
Bought at Antwerp on November gth, 1881, see Journals, ii., p. 371, " To our surprise found
at Van Herck's a grand pair of Chelsea figures (Ranelagh model) for which they asked a
moderate price, so we bought them."

177. Pair of Figures. A man and woman dancing a minuet. Copied from figures

in a painting by .\ntoine Watteau, now in the National Gallery of Scot-
land at Edinburgh, of which an engraving by Laurent Cars under the title
"Fetes Venitiennes" accompanies the Collection, No. 1816. About 1760.
(Plate 22.)

The man wears a plumed purple cap, a crimson-lined turquoise-blue sleeved robe, flowered
waistcoat, breeches decorated with coloured discs, and red shoes. The woman is
dressed in a crimson-lined greenish-blue cloak hanging loosely from her shoulders, yellow
bodice with flowered panel in the front, flowered skirt which she holds out with both
hands, and red shoes. Both figures are supported on rococo-scrolled bases, that of the
woman being painted with a spray of flowers. The man is supported by a tree-stump.
H. 11 J in., io| in. respectively.

The subject of these figures was a favourite one for the decoration of Battersea enamels ;
compare Nos. 1444, 1445, and 1538 in the Schreiber Collection.

Burton, English Porcelain, pi. i.. Porcelain, pi. xxxvii. ; Dillon, Porcelain, 1904, pi. xliv. ;
Porcelain, igio, fig. 268.

178. Group. A youth playing a hurdy-gurdy, while a girl is teaching a dog, dressed

as Harlequin, to dance on a pedestal. Adapted from a composition by Carle
Vanloo. About 1765. (Plate 22.)

The youth is dressed in a wide black hat, pink-sleeved flowered cont and breeches ; the

girl, who is half sitting on the branch of a flowering tree, wears plumes in her hair, a

yellow cloak, and pink-lined greenish-blue dress caught up to show a flowered petticoat.

The group is supported on a rococo-scrolled base with applied flowers and foliage.

H. 11 in.
Compare Peintiire Decorative ati xviii' Siecle, i" Serie, pi. 29. It is asserted by Charles Welch

in the Victoria History of Middlesex (vol. ii., p. 154) that this group is from a model

by Roubiliac.

[179, 180. Figures, Chelsea- Derby porcelain, see p. 66.]
[I8I. Group, Bow porcelain, see p. 12.]
182. Justice. About 1765. (Plate 21.)

A female figure standing with closed eyes, holding in one hand a sword-hilt (the blade being
broken off) ; the other hand is stretched out to hold a pair of metal scales, also missing.
She wears a flowered robe with a pink-lined greenish-blue cloak thrown over it and is
supported on a rococo-scrolled pedestal. H. io| in.

Bought at Brussels on March 8th, 1874, see Journals, i., p. 248, " We strolled into Stroobanfs
shop on the Boulevard d'.\nvers . .' . . He showed us a very fine Chelsea figure
of Justice, 15 inches high, and quite perfect .... We possessed for £"12 los. what
he began by asking us £20 for."

CHELSEA. 37

183. Boy with a basket of grapes, perhaps emblematic of Autumn. About 1760.

(Plate 18.)

He is seated on a stump, nude, except for loose green and yellow drapery thrown over th«
left shoulder. He has a wreath of grapes on his head and a bunch in either hand,
others lie at his feet. H. 6| in.

184. Child with a camel crouching at her feet, emblematic of Asia. About 1760.

(Plate 19.)

She stands with a flaming vase in one hand and a bunch of grapes in the other ; she i.-;
wrapped in coloured drapery and has a wreath of apples on her head. The group is
supported on a mound covered with applied flowers and foHage. H. 9I in.

185. D.wiD G.\RRicK (b. 1717, d. 1799) in the character of Tancred, in Thomson's

Taucred and Sigismunda. .A.bout 1760. (Pl.\te 19.)

He wears a fur shako, green fur-lined dolman, purple tunic, flowered breeches and red boots,
and stands against a tree-trunk on a rococo-scrolled base on which are applied flowers
and foliage. H. 8} in.
Garrick first appeared as Tancred in 1744-5. .\ print of later date (1778) from Bell's
British Theatre, representing him in this character, but differently attired, accompanies
the Collection (No. 1817). Other examples of this and the following figure are illustrated
by Mrs. Hodgson, pi. 10.

186. Mrs. CiBBER (b. 1714, d. 1766) in the character of a Vivandiere. About 1760.

(Plate 19.)

She stands holding a basket of bottles on a rococo-scrolled base \vith applied flowers and foliage,

and wears a white handkerchief tied over her head, a pink jacket over a red bodice, flowered

skirt and pink shoes. H. 8| in.
Compare note on Xo. i8j.

187. Pair of Sweetmeat-stands in the form of figures of a negro and negress

holding shells, .\bout 1760. (Plate 19.)

The man wears a figured tunic and pink breeches, the woman a turquoise-blue bodice and
pink-lined figured skirt ; both figures are kneeling on one knee, and supporting with the
other a shell, which is painted inside with insects. Both rest on rococo-scrolled bases.
Each, H. 7f in.'

[188. Figure, Bow porcelain, see p. 12.]

[189. Figure, Longton Hall porcelain, see p. 121.]

190. Pair of Figures. Mars and Bellona. About 1760. (Plate 19. J

Mars is clad in a cuirass with gilt scales over a turquoise-blue tunic, a white cloak hanging
from his shoulders, a purple helmet with white plume, and buskins ; he stands holding a
sword in his left hand, with a purple standard, a shield, drum and cannon-ball at his feet,
Bellona is similarly armed with a purple helmet with red and white plumes and a gilt-
scaled cuirass over a purple tunic ; she wears also a turquoise-blue cloak hanging loosely
from her left shoulder, and a flowered skirt. She stands supported by a shield moulded with
Medusa's head. Both figures rest on rococo-scrolled bases. H. 14 in., 13I in. respectively.

191. Reaper, perhaps emblematic of Summer, .\bout 1760. (Plate 23.)

He stands bare-legged, with a sickle in one hand, in the act of lifting a sheaf, on a rococo-
scrolled base. Behind him is growing corn ; at his feet, among flowers and corn, are a flail
and a small barrel-shaped flask. He wears a black hat with two ears of corn stuck in it, a
loose white shirt and red breeches. H. lal in.

A similar figure in the British Museum is marked with an anchor in gold ; $ee Hobson, Ca/.i/.i^Mc,
p. 37, No. 44, pi. 12.

CHELSEA.

192. CiROUP, known as the "Music Lesson," forming with the two following pieces a

"garniture de cheminee" or set. A siiepherd boy teaching a shepherdess to play
the llute, modelled by Louis Francis Roubiliac (b. 1695, d. 1762), with
alterations, nfter a painting by Francois Bouclicr, entitled " LWgrcublc Lefon," of
which an engraving by J. F,. Nilson accompanies the Collection, No. 1818.
Mark, an anchor in gold, and " R," the mark of the modeller, impressed. About
1765. (I^LATE 24.)

The figures are seated on a mound in front of a bocage consisting of a flowering hawthorn. The
boy wears a wide blue hat with a spray of hawthorn in it, a richly patterned coat and
breeches, and red shoes ; by his side is a dog. The shepherdess is dressed in a blue bodice,
flowered skirt and petticoat, and green shoes ; on her lap is a lamb. With her left hand,
which is passed through the handle of a basket of flowers, she holds a ribbon attached to
the neck of one of two lambs which lie at her feet. The whole group is supported on a gilt
rococo-scrolled base decorated with applied flowers and foliage. H. 16 in., W. 11 in.

In the Catalogue of the last sale of Chelsea porcelain held by order of Sprimont on
February 15th, 1770, Lot 41, is "A very large and curious group of a shepherd teaching a
shepherdess to play the flute, £8 ; see Nightingale, Contributions, p. 6.

Church, fig. 10; Benirose, Bnu\ Chelsea and Derby Porcelain, pi. v. Compare- also Michel,
Fran(ois Boucher, Catalogue, No. 1376.

193. Pair of Groups, of two figures each, emblematic respectively of Winter and

Spring, and Summer and Autumn, forming with the preceding group a garniture
de cheminee or set. Mark on each, an anchor in gold, and "R" (No. 23J
impressed, the mark of the modeller Louis Francis Roubiliac (b. 1695, d. 1762).
About 1765. (Plate 25.)

The first group is composed of a man skating and a woman carrying flowers in her apron, with
a holly-bush behind them. The man wears a green fur-lined cap, a purple coat, also lined
with fur, over a richly figured tunic, breeches and high boots. The woman, dressed in a
short-sleeved green bodice, white apron, flowered skirt and blue shoes, holds a bouquet in her
left hand. '1 he companion group consists of a woman holding a sickle, with corn and two
birds at her feet, and a gardener carrying fruit in his apron, standing in front of an applc-lree.
The woman has flowers in her hair and a wide blue hat hanging round her neck, and wears
a red bodice and a blue-lined skirt with gilt flowers, caught up so as to show a richly
figured petticoat. The gardener is attired in a crimson coat with gilt flowers, red breeches
and blue apron, and holds a green hat in his left hand. Both groups rest on gilt rococo-
scrolled bases with applied flowers and foliage. H. 14 in., I2| in. respectively.

The figure of Autumn may be compared with a Bow figure in the Collection (No. 23), which
appears to be adapted from it.

194. Pair of Figures, a shepherd and shepherdess. Mark on each, an anchor in

gold. About 1765. (Plate 31.)

Both figures stand beside flowering tree-stumps on rococo-scrolled bases decorated with applied
flowers and foliage. The shepherd has a dog, the shepherdess a lamb at her side. The
former holds flowers in his hands and wears a wide-brimmed black hat, turquoise blue
coat with a pink-lined yellow cloak thrown over it and a wallet slung across his left
shoulder, a white shirt, red breeches with sheepskin round the waist, and black shoes.
The shepherdess has a rose in her right hand and a basket of flowers under her left arm.
She is dressed in a hat w'ith feathers, loose red drapery o\-er her left shoulder, a crimson
bodice, white apron and turquoise-blue skirt caught up by her right hand so as to display
a flowered petticoat, and red shoes. H. 12-, in., I2j in. respectively-.
Chaffers, fig. jor ; Gibb and Rackham, pi. 22.

195. Pair of Terminal Busts, emblematic of Winter and Spring; adapted from Meissen

models. Mark on "Winter," an anchor in gold. About 1760. (Plate 33.)

Winter i.-> personified by a bearded man in a fur-lined crimson cloak. Spring by a young
woman with draperv and flowers thrown over her shoulder and a wreath on her head.
Both pedestals are of square section with moulded plinth : that of " Winter" has a bunch of
hoUv-berries and leaves on the front. Each, H. 5J in.

CHELSEA. 39

196. Actor in pseudo-Turkish Costume. Mark, an anchor in gold (No. 22).
About 1765. (Plate 26.)

He wears a turquoise-blue turban, a parti-coloured masU, yellow coat with ermine lining over
a pink tunic decorated with peacock's feather pattern, greenish-blue breeches and red
buskins. He stands beside the stump of a (lowering tree on a rococo-scrolled base on
which are applied flowers and foliage. H. I2f in.

[197, 198. Group .vnd Figures, Bow porcelain, sec p. 12.J

199. Huss.\R. About 1765. (Plate 33.)

The figure stands supported by a tree-stump on a base with applied flowers and foliage. He
holds a sword in his right hand and wears a fur shako, purple tunic, fur-lined red dolman,
flowered breeches and high red boots. H. 4-3 in.

In the Sale Catalogue of the Chelsea Factory for February i6th, 1770, Lot i is " Two small pots
to mount, and a small Hussar 7s." ; see Nightingale, Cmtribulion^, p. 7.

200. General, afterwards Field-Marshal, Conway (b. 1721, d. 1795), cousin of

Horace Walpole. Ai his feet is a cupid supporting a shield with the crest
of his family, a Moor's head. About 1765. Made with the companion statuette
of John Wilkes to commemorate the popular agitation in favour of Wilkes
in 1763, and the dismissal from his command and his post in the royal bed-
chamber in 1764 of General Conway for speaking in Parliament against the
Government on questions involved in Wilkes's case. (Plate 21.)

The general stands on a rococo-scrolled base in semi-military costume, with a biiton in his
right hand and his left hand resting on a cannon, behind which are two'pink standards.
H. \2l in.

Chaffers, fig. 500 ; Gamier, Hisioire de la Ceramique, fig. 157.

201. John Wilkes (b. 1727, d. 1797), standing beside a pedestal inscribed " In°

Wilkes, Esq'," on which are scrolls with the words "Magna Ciiar^"^" and
" Bill of Rights." At his feet is a cupid with a cap of liberty and a volume
entitled " lock on gov.t." About 1765. Companion to No. 200. (Plate 21.)

Wilkes stands on a rococo-scrolled base with a pink mantle thrown over his left shoulder, his
left hand on his hip, his right holding a pen and resting on the pedestal. H. ii| in.
See note on No. 200.
Chaffers, fig. 499.

202. LiiRD Chatham (b. 1708, d. 1778) resting his right arm on a pedestal inscribed

"Viscount Pitt of Burton Pyxsent, Earl of Chat'" Lord Keeper of his
Majesty^ Privy Seal " ; at his side are a kneeling Indian woman and an
alligator, emblematic of America. Mark, {in anchor in gold. About 1766.
(Plate 27.)

Lord Chatham wears a court dress of white and gold and a purple cloak. The Indian, whose
skin is painted black, wears flowered drapery and a feather head-dress and carries a quiver ;
at her side is a palm. On the pedestal and at its foot are books ; one corner of it is adorned
with a lion's head and two paws. The group is supported on a shaped base. H. 14I in,,
\V. of base, 11 i in.

Lord Chatham was raised to the Peerage and became Lord Keeper in 1776, and in the .same
year declared himself in favour of a conciliatory policy towards the American Colonics.

Cluircli, fig. II ; Joiiynals, ii., illustration facing p. 454.

1 203. Group Chelsea-Derby porcelain, see p. 67.]

40 CHELSEA.

204. James Quin (b. 1693, ^- ^7^(>) in the character of FalsUiff. About 1765.
(Plate 21.)

Standing figure dressed in a plumed pink hat, pink coat, over a flowered doublet, green
breeches and top boots. In the right hand is a sword (the blade of which is missing), and
on the left arm a shield ; a paper sticking out of a pocket in the doublet is inscribed —

s. d.
" A Capon - - - - - -20

Sauce - - - - - -40

Sack - - - - - -50

The figure is supported by a tree-stump on a rococo-scrolled base with applied flowers
and foliage. H. 13 in.
"A large figure of Falstaft i6s." occurs in the Catalogue of Chelsea porcelain sold by
Messrs. Christie and Ansell on May 5th, 1779 ; see Nightingale, Contributions, p. 55. This
figure is a modification, with addition of a beard, of an early Bow model (exemplified
by N'o. 136 in this collection), based upon an engraving by James Mc.Ardell.

[205. Figure, Chelsea- Derby porcelain, see p. 66.]

^ 4. FIGURES OF ANIMALS AND BIRDS, COLOURED.
Nos. 206-235.

These figures are all painted in colours after nature ; gilding is not
used in their decoration. All belong to the earlier periods of ihe factory,
before 1760.

206. Group of two Kids. Mark, an anchor in relief painted in red on an applied

oval medallion. About 1755.

Two kids lying down, on an oval base painted with flowers and foliage. H. 2^ in., L. of
base, 4J in.

207. Pair of Figures, a goat, and a she-goat with her kid. About 1755. (Plate i8.)

Both figures stand on oval bases painted with sprays of flowers. H. 5J in., 4J in. respectively :
each, L. of base, 4J in.

208. Lamb lying down. Mark, an anchor in red. About 1760. (Plate 18.)

H. I in., L. 2I in.

209. Pair of Figures of Pug-dogs. About 1755. (Plate 33.)

Each has a red collar with bells and is sitting up on an oblong base. H. 3V in., 3} in.

respectively.
Bought at Rotterdam, on August 24th, 1869, see Journals, i., p. 35, "Went to \'an Minden's

and made several purchases . . . , to wit, two Chelsea pugs, £1 . . ."

210. Bird. Mark, an anchor in relief painted in red on an applied oval medallion.

About 1755.

Perched on the stump of a tree with flowers and leaves. The head, back and wings are

black with red spots, the breast white. H. 4I in.
Chaffers, fig. 502 ; Journals, ii., illustration facing p. 24.

CHELSEA. 41

211. Bird. Mark, an anchor in relief painted in red on an applied oval medallion.

About 1755. (Plate 18.)

A crested bird with a King tail perched on the stump of a tree with small fruit and leaves.
H. 81 in.

212. Female Hen-harrier. Mark, an anchor in relief painted in red on an applied

oval medallion. About 1755. (Plate 28.)

Perched on the stump of a tree with leaves and flowers. H. 6f in.
Mrs. Hodgson, pi. 8.

213. Bird (warbler?). Mark, an anchor in relief painted in red on an applied oval

medallion. About 1755.

Perched with wings partly outspread on the stump of a tree. H. jf in.

214. Pair of Figures of Geese. Mark, an anchor in relief painted in red on an

applied oval inedallion. About 1755. (Plate 28.)

Each supported on a circular base on which are flowers and foliage. Each, H. 5J in.

215. Pair of Figures of Cock-ptarmigans. Mark on each, an anchor in relief

painted in red on an applied oval medallion. About 1755.

Each stands among com and flowers on a round base. H. j| in., 6 in. respectively.

216. Crested Bird. Mark, an anchor in relief painted in red on an applied oval

medallion. About 1755. (Plate 28.)

The bird has a brown back, head and tail, yellow breast and reddish crest, and is perched

on a tree stump with leaves. H. 6J in.
Mrs. Hodgson, pi. 8.

217. Pair of Figures of aquatic Birds. Mark on each, an anchor in relief on an

applied oval medallion. About 1755.

Each stands on the stump of a tree pluming itself. Each, H. 42 in.

218. Bird (greenfinch ?). Mark, an anchor in red. About 1760. (Plate 18.)

Perched on the stump of a cherry-tree with fruit and leaves. H. 8| in.

219. Pair of Figures, a cock and hen. Mark on each, an anchor in red (No. 21).

About 1760. (Plate 18.)

H. 6| in., 5I in. respectively.

In the sale catalogue of the Chelsea factory for April 12th, 1756, No. 22 is: ".4 Bantam

cock and hen," see Head, Chelsea Porcelain, p. 41.
Chaffers, fig. 502 ; Journals, ii., illustration facing p. 24. Exhibited in the Loan Exhibition

at the Salisbun,' and South Wilts Museum, Salisbury, in 1872 ; see Read, Porcelain

Statuettes, p. 6.

220. Group of two Partridges. Mark, an anchor in red. About 1755.

One stands with outspread wings among foliage on a rock beside which the other is sitting.
H. .]„ in., \V. j in.

221. Pair of Figures of Barn Owls. About 1755.

Each perched on the siunip of a tree with leaves and berries supported on an eiglitsided
base. Modelled with only three claws on each foot. Each, H. 8^ in.

CHELSEA.

222. Griien Parrot. About 1755.

I'erdicd on the slump of a tree with flowers ;iiid leaves. H. 4^ in.

223. Paiij or Figures oe Parrots. About 1760.

Kach perched on the stump of an apple. tree with fruit and leaves, rising from a scrolled base.
.\ butterfly is painted on the front of the stump. Each, H. 8g in.

224. Pair of Imgures of Tawny Owls, .'\bout 1760.

Perched on a stump on which are applied flowers and leaves, and also sprays of flowers
painted in purple. H. y} in., 7I in. respectively.

225. Pair of Figures of Scops Owls, on detached pedestals. About 1760.

Each is perched with a smaller bird grasped in its claws. The pedestals have both a shaped front

and sides, and are decorated with scrollwork in relief and small panels painted in colours

with landscapes. Each, H. 6J in., W. of pedestal, 3y in.
Chaffers, fig. 502; Journals, ii., illustration facing p. 24. Exhibited in the Loan Exhibition

at the Salisbury and South Wilts Museum, Salisbury, in 1S72 ; see Read, Porcelain

Statuettes, p. 6.

[226, 227. Figures, Bow porcelain, see p. 13.]

228. Pair of Figures of Doves. About 1755.

Standing on round bases among ears of corn and flowers. Each, H. 25 in.

229. Pair of Figures of Goldfinches. About 1755. (Plate 18.)

Each perched on the stump of a tree with flowers and foliage. H. 4J in.
Exhibited at Salisbury in 1S72 ; see I?ead, Porcelain Statuettes, p. 6.

230. Pair of Figures of Blue Titmice. About 1755. (Plate i8.)

Each perched on the stump of a flowering tree. H. 4I in.

[231. Pair of Figures, Bow porcelain, see p. 13.]

232. Pair of Figures of Green Woodpeckers. About 1755.

Each perched on the stump of a tree with flowers and foliage. H. 5 in.

Chaffers, fig. 502; Journals, ii., illustration facing p. 24. Exhibited at Salisbury in 1872;
see Read, Porcelain Statuettes, p. 6.

[233. Figure, Bow porcelain, see p. 13.]

234. Pair of Figures of Canaries. About 1760.

Each perched on the stump of a tree with flowers and leaves. H. 25 in., W. 2| in. respectively.

235. Canary. .About 1760.

IVrclied on the stump of a tree with flowers and leaves and a branch which forms a whistle.
H. 2I in.

CHELSEA. 43

§ 5. VASES AND ORNAMENTAL PIECES, COLOURED.
No?:. 236-261.

All these are decorated with enamel colours and gilding except the
earlier pieces (Nos. 236, 245, 252, 259), on which gilding is absent,
a pair of pedestals (No. 248), whicli are ornamented with gilding
alone, and Nos. 241 and 250, on which the colour is under the glaze.

236. \'asf., of Chinese form. Mark, an anchor in relief on an apphed oval medallion.

About 1750.

(.)void body, painted willi a landscape in which are two figures on a wooden bridge, a
castellated tower, and in the background a town. Long narrow neck, from which spring two
ogres-head loop handles, spreading foot. H. 5j in., diam. ig in.

Formerly in the collection of Llewellynn Jewitt and illustrated in his work, Certimic Art iii
Great Britain, i., fig. 380.

237. ^'ASF. .\Ni) Cover, decorated in imitation of Japanese Kakiyemon ware. Mark

inside the neck and cover, an anchor in red. About 1755. (Pl.\te 29.)

Hexagonal, with slightly convex sides, rounded shoulder, short, nearly vertical, neck and low
domed cover with fiat knob. On three sides is a phoenix perched on a flowering tree ; the
alternate sides are painted with flowering plants. On the shoulder and on tlie cover are
three similar birds with outspread wings in shaped panels reserved on a ground decorated
with red lotus and chrysanthemum flowers and foliated scrollwork in blue. H. 12J in,,
diam. 6f in.
A Japanese vase identical in form and pattern is at Hampton Court Palace.
Dillon, Porcelain, 1900, fig. 266; Ciibb and Kackhain, pi. 23.

238. \'ase and Cover, decorated in imitation of Japanese Kakiyemon ware. .About

1755-

Hexagonal, with slightly convex sides, rounded shoulder, short vertical neck and low domed
cover with flat knob. The body, shoulder and cover are each divided into six panels
decorated alternately with a gilt rosette amid white foliated spirals reserved on a red ground
and with a floral spray or a fan and ribbons. The panels on the body and shoulder are
counterchanged. H. lof in., diam. 6J in.

42. I^AtR OE Vases, decorated in imitation of Japanese Kakiyemon ware. About
17.15-

of hexagonal section, with ogee-curved sides and short neck. The sides are painted with two
alternating designs of flowering plants, with a phoenix among them in one. On the neck
are floral sprays. H. gj in., gjf in., diam. 4J in., 45 in. respectively.

Mew, pi. i. ; Solon, pi. i.

239. I'air OE \'ases and Covers, .\bout 1763. (Plate 30.)

Kach has an ovoid body and short concave neck with claret-coloured ground ; the body is
supported by three white caryatid figures ending downwards in lions' paws, which rest on
a moulded circular pedestal painted with trophies of arms en grisaille. Wreaths of flowers
painted in colours are festooned round the body and across the figures. The high domed
covers are decorated with gilt pierced rococo scrolls and surmounted by a bouquet of
flowers. H. loj in., loj in., diam. 4I in., 4I in. respectively.

Chaffers, fig. 503.

44 CHELSEA.

240. YhSE. About 1765. (Plate 31.)

Pear-shaped body with wide mouth, spreading foot. On the body are groups of exotic birds
in landscapes in three panels surrounded by rococo scrolls and on the foot are single birds
in similar panels. The upper part is decorated with perforated scrollwork. H. 6f in.,
diam. 5J in.

241. Set ok Three Vases, moulded in relief and decorated with gilding on a dark

mazarine-blue ground. About 1765. (Plate 31.)

Each has a bulbous body moulded with vine-leaves, grapes and branches, and further decorated
with insects in gold on the blue ground ; short narrow neck expanding upwards and
moulded with a border of pointed leaves. Two scroll handles spring from tlie shoulder ;
the high foot has a foliated border. \ lizard is coiled round the foot of the smallest of the
three vases. H. I2j in., iif in., 12J- in., W. 7^ in., y} in., 7^ in., respectively.

These vases are probably similar to the " Two Vases of deep blue, embossed with gold leaves,
from the Chelsea Manufactory," spoken of by J. T. Smith in A Book jor a Rainy Day as
among the treasures of Mr. William Esdaile's collection seen by him at Clapham in 1829.

Gibb and Rackham, pi. 24.

[242. Pair of Vases, Chelsea-Derby porcelain, see p. 72.]

243. Vase and Cover. About 1755. (Plate 36.)

Depressed globular body, painted on either side with a landscape, with two grotesque satyr's-
mask handles ; high foot decorated with insects. The cover is gadrooned and surmounted
by a floral spray, between the leaves of which are insects ; round the edge is a gilt border.
H. 3f in., W. il in.

[244. Soup-tureen, sec p. 55.]

245. Pedestal, painted in colours in the style of Meissen porcelain. Mark, an anchor in

relief painted in red on an applied oval medallion. About 1755. (Plate 36.)

Of quatrefoil section with mouldings round the top and base. Painted with a carnation and
other detached flowers and insects. H. 4I in., diam. 2f in.

246. Pair of Pedestals. Mark, an anchor in gold (No. 20). About 1765.

Nearly circular at the top, with three rococo-scrolled feet slightly decorated in purple, pea-green
and gold. Each, H. 3} in., W. 4; in.

247. Pedestal. About 1755.

Flat back, bowed front and sides with scrolled feet at the angles decorated with pea-green
foliage and gilt lines. On the front is a landscape in a medallion ; the sides are painted
with insects. H. 4 in., L. 8 in., W. 5I in.

Illustrated in The Connoisseur, igio, vol. xxvi., p. 226.

248. Pair of Pedestals, with gilt decoration. About 1770. (Plate 38.)

In the form of a plinth with four incurved sides on which are four griffins with scrolled
extremities, supporting on their heads a tablet of the same form as the plinth. H. 2J in.,
2f in., W. 3j in., 3; in. respectively.

These pedestals may have been made during the Chelsea-Derby period ; compare with the
pedestals of the groups Nos. 411, 427.

249. Pastille-burner, decorated with applied may-blossoni in full relief. About

1760.

In the form of a cone closely set with red flowers having green centres, except on four small
spaces near the top, which are perforated. The top is surmounted by a yellow rose.
H. jj in., diam. 3I in.

CHELSEA. 45

250. Staxd for a Mirror, decorated with gilding on a dark mazarine-blue ground,

with engraved white metal back. About 1760. (Plate 38.)

In the form of a fountain resting on six scrolled feet, decorated with sprays of flowers in
gold in shaped dark blue panels and with rococo scrolls and rushes in relief, gilt. The
front is pierced with a half rosette. Over the top is thrown a white drapery with gilt
floral spravs and tasselled ends. On the metal door at the back are applied the initials
"J M " in'monogram. Three rectangular openings for drawers, now missing, have been cut
in the panelling of the front. H. 9 in., L. 12 in., W. 8| in.

251. In-kstand, with covered pen-tray, taper-holder, ink-pot and pounce-pot, both

with covers. Mark, an anchor in gold. About 1765.

The stand consists of a shaped platform with scrolled edge, at the back of which is the
narrow pen-tray. In front are three circular sockets, to the middle one of which is screwed
the taper-holder in the form of a column decorated with gilt insects on a dark mazarine-
blue ground ; the other two, holding the pots, are painted with a bouquet in colours.
The handle of the cover of the pen-tray is formed by a figure of a lamb with a wreath
round its neck, coloured after nature ; the remaining surface is decorated with gilt scrolls,
insects and flowers on a dark blue ground. The pots are cylindrical with domed covers,
each with a knob in the form of a bud ; both have a dark blue ground, enriched with
gilt decoration and broken bv two shaped panels in reserve, which are painted in colours
with exotic birds among bushes. Inkstand, H. 6 in., L. SJ in., W. 4! in. ; each pot, H. 4 in.,
diam. 2 in.

Probably similar to the "very rich and curious ink-stand, with a fine pompadour ground,
decorated with a lamb, and richly finish'd with burnish'd gold 4/. 4s.," forming lot 8 in
the Sale Catalogue of the united' Chelsea and Derby factories for .Vpril i8th, 1771 ; see
Nightingale, p. 26.

252. Pair of jARDixitRES. About 1755.

Xearlv semi-circular in section with fluted sides, scalloped rim and a broad striped ribbon in relief
round the middle. The front is painted with a bouquet. The top is pierced with a
semi-circular orifice and smaller holes for cut flowers. H. 3I in., L. 7j in., 7^ in., W. 4f in.,
4j in., respectively.

Bought at .Amsterdam on August 17th, 1869, see Journals, i., p. 33, " .^t Ganz's we have
found two excellent Chelsea jardinieres painted with flowers, which he sold us as old
Dresden, for £1 '15s."

253. A Pair of Flower-pots containing bouquets of flowers modelled in full relief.

About 1760. (Plate 38.)

The outside of the pots is painted with sprays of flowers. Each, H. 7 in., diam. 3 in.
These pieces are doubtfully attributed to Chelsea.

254. Pair of Branch Candelabra. Part of the service given by George III. and

Oueen Charlotte in 1763 to the brother of the latter, the Duke of Mecklenburg-

Strelitz.

The knob surmounting the stem from which the branches spring, as well as the one remaining
nozzle and grease-pan, is decorated with bouquets and garlands of flowers painted in colours,
in panels bordered by gilt rococo scrolls and separated by dark mazarinc-blue bands on which
arc gilt insects. The three S-shaped branches, of which only one in each candelabrum is
entire, are also decorated with gilt rococo scrollwork and lines of dark blue. Each, H. 6 J in.,
L. of unbroken arm, 8 in.
Each of the candelabra formerly had three arms of equal length : they were parted with because
each had two arms damaged by the steward of the ducal establishment to I.azarus. a dealer
at Hamburg, from whom they were bought by Lady Charlotte Schreiber in 1867. The
service is mentioned bv Horace Walpole, who does not seem, however, to have appreciated

46 CHELSEA.

its beauty as would have been expected. In a letter to Sir Horace Mann (March 4th
1763) which begins with some particulars about the King of Prussia (Frederick the
CircMt) he ends thus: — "I saw yesterday a magnificent service of Chelsea China, which
the King and Oueen are sending to the Duke of Mecklenburg. There are dishes and plates
without number, an epergne, candlesticks, salt-sellers, sauce-boats, tea and coffee equipages,
in short, it is complete, and costs twelve hundred pounds ! I cannot boast of our taste ;
the forms are neither new, beautiful, nor various. Yet Sprimont, the manufacturer, is a
I'Venchman. It seems their taste will not bear transplanting. But I have done ; my
letter has tumbled from the King of Prussia to a set of china ; encore passe, if I had begun
with the King of Poland, ce Ruy de Fayence as the other called him," — alluding to his
porcelain manufactory at Meissen.

255. r.-\.iR OF Candlesticks with detachable nozzles. In the front are groups illus-
trating two of Aesop's fables, the respective titles of which are inscribed on the
bases, "THE COCK AND JEWEL," "THE VAIN JACKDAW." About 1765
(Plate 31.)

In the first candlestick, the cock stands in the middle with a jewelled necklace before him,
accompanied by two hens with four chickens. In the second, the jackdaw is represented
being pursued by a peacock which is plucking feathers from his tail, while another peacock
stands behind. The groups are each supported on a rococo-scrolled base with three feet.
At the back is a bocage in the form of a flowering hawthorn supporting the foliated nozzle
and grease-pan ; other flowers are intertwined in the middle of the bocage, at the back of
which is a loop handle. Each, H. lo} in., W. 8j in.

In the Sale Catalogue of the Chelsea factory for 1770 are several lots described as "a pair of
fable candlesticks," or "a pair of toilette candlesticks, fable pattern"; see Nightingale, p. 20.

Burton, English Porcelain, fig. 2 ; Journals, ii., illustration facing p. 454.

[256. Candlesticks, Bow porcelain, see p. 2J.]
257. Haxd Candlestick. About 1765.

Circular tray painted with sprays of flowers, with wavy rim decorated with gilt foliated scrolls
on a dark mazarine-blue border. The socket is in the form of a conventional flower, with
green twisted stalk forming the loop handle. H. 35: in., diam. 5 in.

[258. Bottle, Chelsea-Derby porcelain, see p. 72.]

259. Box and Cover in the form of an apple. About 1755. (Plate 34.)

Coloured after nature. On the top is a looped stalk with two leaves forming a handle. H. 3 in.,
diam. 2| in.

Bought at Utrecht on November 4th,- 1872, see Jotirncds, i., p. fjo, " Gorkum .... was
unluckily from home, but C. S. spied out among his miscellaneous stock a very fine apple of
Chelsea china in the form of a box and cover, which Mine, (jorkumsold to us for 2s. 6d."

260. Toilet-Box and Cover containing five smaller heart-shaped boxes with covers,

painted en camaieii in black outline washed over with green.

The outer box is of scalloped form with flat cover ; it is painted inside on the bottom, and
both inside and outside the cover, with mountainous landscapes in which are castellated
buildings and trees. The covers of the smaller boxes are decorated outside with similar
landscapes. Large box, H. 2 in., diam. jl in. ; small boxes, H. I5 in., diam. 2j in.

261. Toilet- BOX and Cover, painted en camaieu in black outline washed over with

green and further decorated with gilding. About 1760.

In the form of a tan. The top is painted with a view of a country house among trees with a
cascade in the foreground. On the sides are village-scenes with cottages and trees. H. 2 in.,
W. Si in.

CHELSEA. 47

§ 6. CHELSEA TOYS.

Nos. 262-327.

Many of tliese are inscribed with gallant mottoes in French (often
incorrectly spelt). Where such inscriptions occur they are invariably
written in small red capitals.

262-268. Etuis, all mounted in gold and decorated in enamel colours, with the
e.xception of No. 264, which is painted in underglaze mazarine-blue ; all of them,
except Nos. 262 and 263, are also gilt.

262. Etui and Scent-bottle with Stopper, combined. About 1755.

Ill the form of a figure of a child, naked except for a frill round his neck, standing anmng vine-
branches and supporting with outstretched arms a basket of grapes on his head. A buttertly
forms the stopper. Mounted in gold at the centre and at the stopper. H. 45 in., W. J in.

263. Etui representing Daphne turning into a laurel. About 1755.

She is liolding up her arms and looking backwards over her right shoulder. Her lower limbs
have changed into the trunk of the tree and leaves are sprouting from her head. H. jj in.,
diam. I in.

264. Etui, with gilt decoration partly over a mazarine-blue ground. About 1760.

Cylindrical in form, decorated with ornament in six spiral bands, consisting alternately of gilt
diaper-pattern on a white ground and gilt (lowers on a blue ground. H. 4] in., diam. ^ in.

Bought at the Hague on October 26th, 1880, see Jourinih, ii., p. 313. " The Crown Prince and
Princess of Denmark were at Tennyssen's when we got tliere. This is now the chief shop
at the Hague, and I never expected to find in it a lovely Bleu de Roi and gold Chelsea
etui and to be asked only £^ for it."

265. Etui, in the form of a figure of Cupid kneeling on a column and holding a

pair of doves. About 1760.
The column, forming -the lower part, is coloured and gilt to imitate red marble. Cujiid kneels
on his left knee and has green drapery thrown loosely round him and a scarf over his
right shoulder with the motto: "IMITEZ NOUS." H, 5I in., diam. I in.

266. Etui, surmounted by a bust of a lady. About 1765.

The upper part is moulded in the form of a bust of a lady wearing a pink h.it with blue
riljbon and a figured mantle over a pink bodice with a flower stuck into it. The
cylindrical lower portion is painted on the front with a drawn sword pl.mtcd in the
ground between branches of palm and laurel, in an oval medallion bordered bv pink riblions
with the motto "POUR I/HO.NF.UR KT I.WMOUR." The remainder is decorated with
panels of gilt scroll work. 11. 4I in., diam :J in.

267. Etui, in the form of a garlanded heart on a column, .\bout 1760.

Tlic lower part is painted to imitate marble, veined with crimson and gold ; upon the capital
rests a heart wreathed in flowers applied in relief. Heneath the base of the column is
painted a heart pierced by an arrow, encircled bv the motto: "Jl'. CON'TR.MNT I.K.S
PLUS H.\UT (sic)." H. 5A in., diam. i ^\ in.

268. Etui, surmounted by a bird in a cage. About 1765.

Of cylindrical form, decor.ited witli small circular, gilt-bordered medallions enclosing roses and
leaves in natural colours. The plinth at the top on which the cage rests is inscribed with
the motto: "JK VIS KN .\MITI (sir)." H. 4^ in., diam. 2 in.

CHELSEA.

269-277. BoNBONNiERES AND Patch-boxes, painted in enamel colours. Nos. 270, 272,
273 and 275 are also decorated with gilding.

269. HoNBoxNiERE, with lid of moss agate and chased gold mount, .\bout 755.

(Plate 33.)
In the form of an oblong box with four slightly convex sides on which are painted in colours
figures in Wattpau dress in a landscape with sheep and a goat. The small base is painted
underneath witli a spray of roses en cama'eu in crimson. H. i| in., \V. iJJ in.

270. RoNBONNifeRE, in the form of a figure of Cupid playing on a pair of kettle-

drums, with Dattersea enamel lid and gold mount. About 1760.
(Plate 32.)
Cupid is seated on a mound covered with flowers, with red Howered drapery across his knees
and a blue fillet in his hair. A ribbon with the motto "POUR I.ES C.A.V.\LIERS DE
CITHERE" passes over his right shoulder. The kettle-drums at his side are hung w.;ith
llowered cloths. The inside of the bonbonniere and the enamel lid, both inside and outside,
are painted with sprays of flowers. H. 2j in., W. 2| in.
Church, fig. I.

271. Bonbonniere, in the form of a figure of a lady caressing a spaniel, with

Battersea enamel lid and gilt metal mount. About 1760. (Plate 32.)
The lady sits on a mound and wears a white cap with purple ribbon and a Watteau dress
embroidered with sprays of flowers. The enamel lid is also painted inside and outside with
flowers. H. 2j in., W. ij in.

272. Bonbonniere, in the form of an oval table-top laid in readiness for a

convivial gathering, with gilt metal mount. About 1760. (Pl.\te 33.)

The table is covered with a flowered cloth. Upon it are laid a basket of grapes with a ribbon
bearing the motto " [B.\]CCHUS \'OUS IN\'ITE," a wine-fiask, two glasses, a packet of
tobacco and two clay pipes. The inside of the bonbonniere is painted with sprigs of
flowers; the lid is missing. H. ij in., W. 2| in.

273. BoNBONNiHRE, with lid of Egyptian jasper mounted in silver. .\bout 1760.

Moulded in relief with a hunting horn, wallet, priming-flask, knife, flowered cloak, and a dead
hare, laid on a flowery mound ; the strap of the wallet is inscribed with the motto : " A
[I.A] CHAS[SE] DES BELLES." The inside of the bonbonniere is painted with sprigs of
flowers. H. ij in., L. 2| in.

Bought at Granada in 1872, sec /oKi-iia/s, i., p. 251, " We went on .... to Rotterdam and
walked to Van Mlnden's .... with him we got .... a box with exactly the
same subject and model as a Chelsea box we bought at Granada, 1872, ' Chasse des Belles." "
The same model occurs in Battersea enamel (compare No. 1559 in the Schreiber Collection).

274. Bonbonniere, in the form of a rabbit and her young, with lid of Battersea

having enamel and gilt metal mount. About 1755. (Plate ^^.)
The rabbits are moulded in full relief and coloured after nature. The enamel lid is painted
inside and outside with sprays of flowers. H. i| in., L. ij in.

275. Patch-box, in the form of a basket of fruit, with lid of Battersea enamel

a looking-glass inside and gilt metal mount. About 1760. (Plate 33.)

The fruit are coloured after nature ; the basket, left white, is tied with a ribbon bearing the
motto : " L'AMOUR LES A CUEILLI (sic) POUR LA PLUS BELLE." The inside of
the bonbonniere and the outside of the enamel lid are painted with sprays of flowers.
H. li in., L. 2 in.

CHELSEA. 49

276. BoNBOxxifeRE, in the form of a man's head, with lid of Battersea enamel

and gilt metal mount, .\bout 1760. (Pl.\te 33.)

The man has a slight moustache and wears a soft turquoise-blue cap with red and crimson
plumes and fur border. The inside of the bonbonniere and the enamel lid, both inside
and outside, are painted with sprays of flowers. H. 2| in., W. 2' in.

Bought at Hamburg on October 13th, 1880, see Journals, ii., p. 306 : " .\t Sig. Stern's, in Wex
Strasse .... we happened to ask her if she had any small flacons, on which she
produced several, .... among them a bonbonniere, formed of a male head, and of
the finest Chelsea .... she asked a moderate sum, which we most cheerfully gave."

Church, fig. 2.

277. P.\TCH-BOx, in the form of a lady's face, with lid of Battersea enamel having

a looking-glass inside and gilt metal mount. About 1760. (Pl.\te 23-)

The lady is wearing a white linen cap with a crimson feather on the front and a yellow bow to
fasten it under the chin. The enamel lid is painted with sprays c^f (lowers. H. ij in.,
L. i| in.

278. Figure of .v Buy with a basket, painted in colours. About 1735. (Pl.vth 33. j

A naked boy crouching beneath an empty basket, which he supports with both hands on his
shoulders ; the figure rests on a round base, concave underneath, painted w'ith sprays of
flowers. H. 2J in., W. j in.

279 303. ScENT-BOTTLES, all painted in enamel colours, \\ ith the exception of \os.
279 and 301, which are in plain white porcelain. The later ones (Nos. 282.
283, 284, 289, 291-5, 297, 300) arc also decorated with gilding.

279. ScEXT-BOTTLE .\ND STOPPER, of plani white porcelain. .Vbout 1755.

In the form of a pilgrim-bottle with oblong base, four-sided neck, and on the shoulders ranT-'
heads in relief, from which are festooned vine-stems with foliage. The stopper is in the
form of a bunch of flowers. H. 3 J in., \V. i\^ in.

280. ScEXT-BOTTLE, copied from a Meissen model, with stopper and base of gilt

metal, the latter pierced with floral ornament. About 1753.
Of flattened rococo form with scrollwork in relief, and a bouquet of flowers painted in

colours on cither side. H. 3I in., \V. i| in.
Compare Kunstsammlungen F. von Parpart, Berlin, iyi2. pi. 42, no. 687.

281. ScENT-BOTTLE AND STOPPER, with a mirror attached by a gold mount to

the base. About 1755.
Of flattened rococo form with scrollwork in relief, and a bouquet of flowers painted in
colours on either side. The stopper is in the form of a butterfly. H. 3 in., W. ij in.

282. Scent-bottle axd Stopper, inscribed " luni ile Senteur," with gold mount.

About 1735.
In the shape of a wine-flask with the body swathed in wickerwork (coloured yellow), a label
bearing the name round the shoulder, and bouquets of flowers in colours on the long
narrow neck. The stopper is in the form of a butterfly. H. 3I in., \V. i\ in.
.\ scent-bottle identical, in form and bearing the same inscription, is figured in Schercr,
Fiirstcnberger Porzellan (fig. 104), as aspecinien of Fiirstenberg porcelain, and may be a
o.py of this Chelsea model.
X l;i2.-,;i D

50 CHELSEA.

283. Scent-bottle, with outer screw cap and inner stopper. .Vbout 1760.

(Plate 33.)
Vase-shaped, with flattened sides and projecting shoulder moulded with rococo scrollwork.
On either side, reserved in white on the m;izarine-blue ground, are shaped panels with
gilt borders painted in colours respectively, with a boy and a girl 'in dress of the period
dancing among trees. The cap is surmounted bv a bunch of flowers applied in relief.
II. 3f in., W. ij.

284. Scent-bottle and Stopper. About 1770.

of flattened form with short neck and small stopper, moulded with leafy scroll-work along
the narrow edges, and with a flaming heart on either side, in slight relief on a bleu de
roi ground. The hearts are outlined in gold and painted each with a bow and arrow
and the motto: "JE TIRE AU CnaiR." H. 3 in,, W. ij in.

This piece was probably made during the Chelsea-Derby period.

285. Scent-bottle and Stopper, in the form of a figure of a Chinaman

holding a bird, with gold mounts. About 1755. (Plate 33.)

Standing figure, clad in a long flow^ered robe with yellow lining, and a yellovy conical hat.
The base is concave underneath and is painted with a bouquet. H. 4 in., W. ifV '"•

285. Scent-bottle and Stopper, in the form of a figure of a lady dancing,
mounted in gold. About 1755. (Plate 32.)
The lady's head, adorned with a plumed cap, forms the stopper. She wears a flowered dress,
the "wide skirts of which she holds out on either side. She is supported on a base
concave underneath painted with a bouquet. H. 4 in., W. 2 in.
Church, lig. 3.

287. Scent-bottle and Stopper in the form of a figure of a parrot, mounted in

gold. About 1755.

The plumage is painted in red, green, brown and yellow ; the head forms the stopper. The
bird stands beside a tree-trunk springing from a mound, which is concave underneath
and painted with a bouquet. H. 2 in., W. ij in.

288. Double Scent-bottle with two Stoppers, in the form of figures of a

parrot and a Cochin China cock, mounted in gold. About 1755. (Pl.a.te 33.)

The plumage of the parrot is green, red and yellow ; that of the cock, black and white. The
heads form the stoppers. The two bird's stand on a base concave underneath, painted
with a bouquet. H. 2f in., W. \l in.

289. ScENT-BOTTLE AND STOPPER, in the form of a figure of a peacock on a

broken column, mounted in gilt metal. About 1755. (Pl.ate 33.)
The plumage is painted in colours : the head forms the stopper. The branches of a rose
with flowers and foliage cling round the column, which rests on a mound, concave
underneath, painted with a bouquet. H. 3! in., W. ij in.

290. Scent-bottle and Stopper, in the form of a figure of a pug-dog, with

Battersea enamel collar and gilt metal mounts. About 1755. (Plate 33.)

The dog sits on a base, concave underneath, painted with a bouquet. The collar is inscribed

with the motto " FIDELLE " in gold. The head forms the stopper. H. ij in., W. iJ in.

291. ScENT-BOTTLE AND STOPPER, moulded to represent a boy catching birds,

with metal mount. About 1765. (Plate 33.)

The boy, who wears a wig, embroidered coat, and yellow breeches, is peering round the trunk
of a flowering tree at an open cage hung upon it, on the top of which a bird is perched.
He holds another cage in his left hand ; his hat lies on the ground behind him. .\ large
flower forms the stopper. Underneath the bottom is the mottii " JE VIS EX ESPERAXCE "
surroimding a pierced heart, in gold. H. 3} in., W. rj in.

CHuLSEA. 51

292. Scent-bottle and Stopper, moulded to represent Cupid standing beside a

rose-tree, with gold mount. About 1760. (Plate 33.)
Cupid stands with bow and quiver slung over iiis shoulder, holding a flower to his nose.
The stopper is formed of a bunch of flowers. H. 3 in., W. i| in.

293. Scent-bottle and Stopper, moulded to represent a bov birdnesting, with

gold mount. About 1760. (Plate ^^.)

The boy is dressed in a crimson hat, yellow jacket and red breeches. He stands beside a
tree-trunk carrying a nest in his hands, while two birds are flying towards him ; another
bird is perched on the stopper. The base is concave underneath and decorated with a
gilt flower. H. 2| in., W. i| in.

294. Scent- bottle and Stopper, in the form of a figure of a boy dressed as

a gardener, mounted in gold. About 1760. (Plate 33.)
He wears a yellow coat, turquoise-blue waistcoat, blue apron and crimson breeches, and

carries a basket of flowers on his head and another containing fruit on his right arm.

.\ bunch of flowers forms the stopper. The base is concave underneath and decorated

with a gilt flower. H. 3j in., W. J in.
This model was imitated in enamel at Battersea ; compare Xo. 1728 in the Schreiber Collection.
Bemrose, Bum, Chelsea and Derby Porcelain, illustration on p. iii.

295. Scext-bottle and Stopper, in the form of a group of Cupid and a woman

beside a clock. About 1760. (Pl.\te 32.)
.V woman, partially clad in yellow drapery, advances with her head turned to look at the
dial of a tall clock, the hand of which points to 12. .At her feet is a dog and at the
back of the clock a rose-tree. Cupid stands by pointing at the clock. The group is
supported on a marbled base with four feet and the inscription : " I.'HEURE DU BERGER
riDELLE." A pair of doves form the stopper. H. 3I in., \V. i| in.

296. Scent-bottle and Stopper, moulded to represent two boys at a furnace

distilling, with gilt metal mount. About 1760. (Pl.\.te 32.J
Two naked boys beside a furnace, one of them blowing the fire with bellows, the other
kneeling to stir a- mortar ; on ledges of the furnace, which is ornamented with sprigs
of flowers, are an alembic and other vessels. \ jet of flames at the summit forms
the stopper. The base is concave underneath and decorated with a flower in colours
H. 3^ in., W. 1} in.

297. Scent- BOTTLE and Stopper, in the form of a figure of a woman holding a

basket of grapes, with gilt metal mount and chain to the stopper.
About 1760. (Pl.\te 33.)
She sits beside a tree, with a basket of grapes on her lap and a bunch of them held up in
her right hand ; she is dressed in a yellow bodice, flowered skirt and crimson apron
.■\ bird is perched on the top of the tree which forms the stopper. The base is inscribed
with the motto : " POUR .MO.\ .'\MOUR " ; it is concave underneath and decorated with
a rose in colours. H. 3!^ in., W. 1} in.
Bemrose, Bovu, Chelsea and Derby Porcelain, illustration on p. 37.

298. Scent-bottle, in the form of a figure of a girl with a dog. About 1760

(Plate 33.)

She wears a flowered dress and stands with a basket of flowers slung from her shoulder.':
a bird in her hands and a Dalmatian dog seated at her feet. The base is inscribed
with the motto: " F IDEl.LK .ME GUIDE"; it is concave underneath and docorated
with a rose in colours. The stopper is missing. H. 2 J in., W. {J in.

U 2

52 CHELSEA.

299. Scent-bottle and Stopper, in the form of a figure of a girl holding a basket

of flowers, with gilt metal mount and chain to the stopper. About 1760.
(Plate 33.)

She is loosely draped in a flowered robe, and sits beside a rose tree on a green marbled pedestal,
with a basket of flowers in her lap and a flower in her right hand ; the stopper is formed of
flowers. H. 2f in., W. i in.

IJought in Paris on February 12th, 1874, sec Journals, i., p. 351, " went on to

Oppenheim's to see what the travelling brother had brouglit home from Germany, whence

he arrived the previous night we at once seized upon and carried away an

exquisite Chelsea smelling-bottle, formed as a girl smelling at a flower and holding roses,
cheap at £y 12s."

300. Scent-bottle and Stopper, in the form of a figure of Cupid beating a drum,

with gilt metal mount and chain to the stopper. About 1760. (Plate 33.)

lie stands in front of a rose-tree, with his drum slung round his neck. The base is inscribed
with the words : " I'ENG.AGE LES COEURS " ; it is concave underneath and decorated with
a rose in colours. The stopper is in the form of a butterfly. H. 35 in., W. li in.

Bought at Rotterdam on October 15th, 1873, see Journals, i., p. 231, "Van .Minden had a lovely
little bibelot of Cupid with drums, also £8."

301. Scent-bottle and Stopper, of plain white porcelain, in the form of a figure

of a woman nursing a child. About 1755. (Plate 14.)
She sits, attired in a loose robe, on a rock beside a tree-trunk, with the child in her arms. .V
buncli of grapes forms the stopper. H. 3! in., \V. i:| in.

302. Scent-bottle, in the form of a bouquet of flowers, with engraved silver

stopper. About 1760.

The flowers are painted in natural colours. H. 3 in., diam. il in.

303. Scent-bottle and Stopper, in the form of a bunch of bean-ilowers springing

from a flower-pot, with gold mount and chain to the stopper. About 1760.

(Plate 33.)
The flowers are painted after nature. The pot is decorated with floral sprays ; a butterfl\- forms
the stopper. H. 2f in., diam. i| in.

[304, 305. Cane-h.\ndles. Bow porcelain, see p. 12.]

306. Thimble, painted in colours with gilding. .About 1760.

'I'hc thimble has a saiUoped edge and is jiainted with a bird on a sprav and witli the motto :
•■ GAGE DE .MON AMITIE." II. I in.

307-309. Hreloques, or pendants for the watch-chain, moulded in various forms, all
painted in enamel colours without gilding and dating from about 1760.

307 Two faces joined together at the back, wearing black masks ; a ribbon dividing them is
inscribed "UNIS P.VR AMITIE." L. i in.

308. .^ female face wearing a black mask and a plumed cap, mounted in gold. The eyes are

set with diamonds. L. i in.

309. A quiver full of arrows, painted with flowers in panels. I,, i in.

[310. liRELooiE. Venetian (?) glass, see \'o\. III.]

311. ToBACCO-SToppER, painted in colours with gilding. About 17^*5-

In the form of a masked bust of a lady wearing a feather head-dress, supported on a draped

pedestal, the base of which is incised underneath with cross hatching. H. 25 in.
A somewhat similar piece is illustrated in Bemrose, Boic, Chelsea, and Derby Porcelain, p. 93.

CHELSEA. 53

312-323. Twelve Seals in the form of small figures with intagli, chiefly in carnelian,
set with gold mounting in the base. All except No. 313, which is in plain
white porcelain, are painted in colours without gilding, and date from about
1760.

Height of each, about i in.

312. .'\ dove on its nest in a basket bordered with a wreath. Agate intagHo. a bird perched on a

branch. L. f in.

313. Shakespeare, white porcelain, standing figure after the statue in Westminster Abbey by

Peter Scheemakers, after a design of William Kent. Carnelian intaglio, a serpent and
two hearts with the words : " IE ENVIE."
Bought at Amsterdam on May 13th, 1878, see Journals, i., p. 122, "We got ....
a good Chelsea bibelot and seal, representing Shakespeare, at Morpurgo's."

314. A shepherd-boy playing a pipe, with a lamb lying at his feet. Carnelian intaglio, cupid

with an altar and two hearts.

315. A green parrot, on a base inscribed " DISCRET EN AMOUR." Carnelian intaglio

the sun and a sunflower, with the words ; " AVOVS SEV'LE."
Bought at Amsterdam on March i6th, 1874, see Journals, i., p. 255, " we bought ....
at Boasberg's .... a lovely Chelsea seal with a parrot, £1."

316. Two doves billing, on a stump rising from a flowered base. Carnelian intaglio, a butterfly

on a rose, with the words : " S.ANS L.^RCIN."

317. Punch, masked, in striped dress, standing on a base inscribed " TOUJOURS G.\'^'."

Carnelian intaglio, a bird on a tree, with the word : " FIDEL."

318. Harlequin, masked, in parti -coloured dress, w'ith lath. Carnelian intaglio, two hearts

between palm-branches with the Words : " L'AMITIL."

319. Cupid seated on a pedestal holding a globe, on a base inscribed "JE TIENS LE

NIONDE." Carnelian intaglio, a dove holding an olive-branch, with the word :
" FIDELLE."

320. Boy in fancy dress, a long robe over a riding costume, removing a mask from his face with

his left hand; the base inscribed "JE SUIS DEM.^SOUE (sic).' Carnelian intaglio, a
male classical head.

321. Kid rising on its hind legs, eating grapes. Carnelian intaglio, a bearded classical head.

322. .V peacock perched on a broken column. Carnelian intaglio, a male classical head.
Bought in London in October, 1874, see Journals, i., p. 318, "We have gone the round of

the London shops .... we have picked up ... . one small Chelsea seal of a
peacock."

323. Cupid draped with a blue scarf, holding a heart in each hand and resting one foot on a

serpent ; set with a carnelian, over which is applied a twisted cord in gold for stamping
wafers.

324. Se.\l, in the form of a grotesque figure of a masked woman dancing, painted

in colours. About 1760.

The base is mottled underneath with green. H. i in.

325. Se.\l, in the form of a figure in military dress, painted in colours with gilding.

.\bout 1765.

.\ man wearing a blue cap, fur-lined purple coat, white tunic, yellow breeches and top boots.
The base is inscribed " V,\INCRE OU NIOURIR ' and painted underneath with a
cinquefoil. H. i in.

326. Figure of a boy caressing a dog, painted in colours, made for mounting as a

seal, .\bout 1760.

Naked figure, kneeling on a mound inscribed " .-V.MOUR FIDELLE." H. 1 in.

34 Cni'LSEA.

327. 'I'liiKTEEN FiniiKUS, made fur mounting as seals, each standing on a green mound,
painted in colours with gilding. About 1760.
Height of each about i in.
a. Cupid riding on a lion.
h. A shepherd boy seated, playing bagpipes.

c. A girl carrying a basket on her back, with a dog sittnig at her feet.

d. A boy in fancy costume, with a long mantle.

e. A man in Turkish dress.

/. A woman in a red fur-lined cloak, with a muff.

g. A boy dressed as a huntsman, blowing a horn, with a dog at his side.

h. A girl with a watering-pot on a pedestal.

i. A woman carrying a basket and a bunch of grapes.

k. Cupid as a sportsman, with quiver, hat and boots and red scarf.

/. A boy in fancy costume, with a long mantle.

m. A woman dancing. .

?7. A man seated with a basket of flowers on his back, leaning on a stick.

The last-named was bought at Frankfort-on-the-Main on September 2Gth, 1873, see Juurnah, i.,
p 224, " we heard of a Chelsea bibelot (a gardener carrying flowers), which Aultmann
fetched from a private house to show us, and which we eventually bought, though at

It is known that trinkets of similar character to these were made also at Derby, and it is possible
that some of the above, in which the base is solid and not concave underneath (a, (> e
and £•), are of later date than the remainder and should be referred to the Chelsea-Derby
period.

§ 7. PIECES FOR DOMESTIC USE, COLOURED.
Nos. 328-408.

The painting is always in enamel colours over the glaze, except in
the case of the dark mazarine-blue, where it occurs, which is applied
before glazing. Another exception is that of a plate (No. 349) painted
only in underglaze blue in imitation of Chinese " blue and white '
porcelain.

328 Tureen and Cover, in the form of a rabbit, painted in colours. Mark on the
inside, an anchor and "No. i," in red. About 1755. (Plate 34.)

The rabbit is crouching with a cabbage-leaf in its mouth and other leaves on either side of
it, on two of which are snails. The mark "No. i "is repeated on the cover. H.Sj in.,

In the s1ue'"catalogue of the Chelsea factory for March 30th, 175O, Xo. 35, is " .A beautiful
tureen in the shape of a rabbil as large as life, and a fine dish to ditto. See Read, p. 7.

Bought at Kotterdam on April 23rd, 1913, see Jouriials, i p. 432, "Went on . . to Uotterdam,
where we obtained a magnificent large rabbit of old red anchor Chelsea at \ an Minden s,
very cheap. ... He only asked ;f;5 for it and took £4."

Tureen and Cover, in the form of a pigeon, painted in colours.
Standing on a mound with applied llowcrs and leaves. H. 5 in., L. i:i in.

331. Pairs of Tureens, Bow porcelain, see p. 26.]

329.

330

[332. Pair of Sugar-tureens, Longton Hall porcelain, see p. 122.]

CHELSEA. 55

244. SoiP-TUREEX, painted in colours. Mark, un anchor in red. About 1755.

Of depressed globular form with two loop haiulles in the form of twigs, from the attachments of
which spring applied sprays of flowers and foliage. Painted inside and outside with
bouquets and sprays of flowers in lavender-blue outlined in grey. H. 5' Jn _ \v. 14! in.
Tliis piece was formerly described as a "bowl for flowers " ; there is, however, in the ^luseum,
a soup-tureen of precisely similar form with cover and stand (No. 2062-igoi).

333. P.-^iR OF Sauce-boats, moulded in relief and painted in colours. Mark, a triangle

incised. About 1745. (Platk 35.)

Round the top are festoons of flowers, fruit and foliage in relief. The shaped base is moulded
with two goats' heads and two boys' masks among scrollwork. Scrolled loop handle. The
inside is painted with a bouquet tied with ribbons, the outside with scattered flowers, sprays
and insects. H. 4I in., L. 7I in., 7I in. respectively.

Church, fig. 4 : Chaffers, fig. 492.

334. Dish, painted in colours. Mark, an anchor in relief on an applied oval medallion.

About 1750. (Plate 36.)

Oblong octagonal. Painted with sprays of flowers, radishes, and insects. L. i^l in., W. 12 in.
Bought in 1884, see Journals, ii., p. 433, " I have bought several rather remarkable pieces to add
to the collection — a noble raised anchor dish — . . . ."

335. Pair of Dishes, moulded inside in slight relief and painted in colours in tl:e

style of Meissen porcelain. Mark on one, an anchor in relief on an applied oval

medallion. About 1750.

Each in the form of two long leaves laid one over the other, and painted with a brown edge
and with sprays of flowers and insects; on one is also a caterpillar on a leaf. The lower
side of the rim is coloured yellow. L. io| in., 10} in., W. 7 in., 7J in. respectively.

336. Pair of Dishes, painted in colours and gilt. Mark, an anchor in gold.

About 1760. (Plate 37.)

Oval. The middle is white, with a bird in the centre painted in colours and a scrolled fringe
tinted in green. The rim, which is moulded with scale-pattern and has a wavy edge with
feather-pattern in relief, is claret-coloured, decorated with gilt sprays of flowers. I.. 13^ in..
13! in., W. 10} in., io| in. respectively.

337. Pair of Dishes, painted in colours and gilt, in the style of Jaj)anesc "Imaii"

porcelain. Mark, an anchor in gold. About 1760. (Pl.\te 38.)

Saucer-shaped with scalloped rim. The decoration is painted in mazarine-blue under the glaze
and in red and two shades of green with gilding over it. In the middle is a flowering
branch of chrysanthemum. The rim is divided into twelve panels, four large ones con-
taining /ii-ii)!»s-blossom or other flowers and eight smaller ones in pairs filled w-ith two
different diaper-patterns. On the underside of the rim are three spra) s of tree-peony. Each,
diam. 8 in.
Formerly in the collection of the Earl of Lonsdale.
Dillon, Porcelain, 1904, pi. xlv.

338. Dish, painted in colours. Mark, an anchor in red. About 1755.

Of eight-sided oblong form, the sides curving outwards at the top. Painted inside w-ith
four bouquets and scattered sprays of flowers. II. 2^ in., L. 9 in.

339. Dish, painted in colours, in the style of Meissen porcelain. Mark, an anciior in

red. About 1755. (Pl.\te 36.)

Circular, with shaped rim moulded in relief with three rococo panels separated by trellis-
pattern. The panels are painted with groups of figures among buildings, trees and
shipping. In the middle are sprays of flowers. Brown edge. Diain. 16} in.

This model is called the " Warren Hastings pattern," from the circumstance that a set of
this pattern was included in the sale of his effects at Daylesford House in 1818.

56 CHELSEA.

340. Pair or Dishes, painted in colours. Mark, an anchor in red (No. 19.) About

1755- (Platk 36.)

Heart-shaped. P.-iinted with three exotic birds among buslies. I.. loj in., W. yj in., 7 in.

respectively.
Burton, English Porcelain, (ig. g.

341. Pair of Dishes, painted in colours. Mark on one, an anchor in blue enamel over

the glaze. About 1755. (Plate 36.)

Heart-shaped; decorated with a border of shaped panels reserved on a yellow ground and
painted with bouquets and insects. The ground itself is also painted with a butterlly
and detached leaves or flowers. L. 11 in., iij in., W. 7} in. 7j in. respectively.

342. Pair of Dishes, moulded in the form of lettuce-leaves laid one over another

and painted in colours. About 1750.

The leaves are edged with green and yellow, and painted with sprays of flowers and (on

one of the dishesj an insect. L. 15 in., W. \o\ in., lo^ in. respectively.
Bought in London on November 24th, 1884, see Journals, ii., p. 458, " Called at Partridge's

and Button's (at the latter place took a fancy to . , . some lettuce-shaped Chelsea

dishes)."

439. Bowl WITH Cover AND Stand, painted in colours and gilt. About 1760. (Plate 38. j

The bowl and cover are moulded with basket-work (on the latter piercedj and decorated
with applied sprays, with flowers coloured mazarine-blue and gold and green foliage
veined with red ; the cover has a handle twined about with a blue ribbon. The stand
has two handles in the form of twigs with flowers and leaves, and a border moulded
with quatrefoils of the same colour as the flowers on the bowl, fhe inside of the
bowl and the middle of tlie stand are painted with sprays of flowers in colours. Bowl
and cover, H. 8| in., diam. 7I in. ; stand, diam. !o\ in.

Church, fig. 14.

343. Dish, painted in colours and gilt. About 1765.

Of eight-sided oblong form, the sides curving outwards at tlie top. Inside on the bottom is
a bouquet enclosed by a broad framework of gilding on a mazarine-blue ground; round
the rim are festoons of flowers in colours, hanging from a border of conventional
ornament in gold on mazarine-blue. H. 2| in., L. 8j in.

344. Pair of Dishes, painted in colours. About 1755.

Oval with wavy rim. Painted on the rim with inserts, and in the middle, one with a duck

and a finch, the other with otlier birds, among bushes. I.. 8J in., 8J in. resjiectively,
each, \V. 61 in.

Illustrated in The Connoisseur, vol. xxvi., p. 226.

63. Dish, moulded in relief and painted in colours. .About 1760.

Oval with wavy edge ; the rim is moulded w-ith vine-leaves, stems and grapes, which are
painted in colours. In the middle are sprays of flowers. I.. 11 in., W. qi in.

81. Plate, painted in colours. .About 1755. (Plate 34.)

The rim has a moulded feather-edge coloured brown and is painted with three sprays of
fruit, apparently intended for wild strawberries; in the middle are insects. Diam. 81 in.

345. Pair of Dishes, painted in colours. About 1755.

Each in the form of a sunflower with other smaller flowers and leaves ; the stalk, twined
about with a ribbon, forms the loop handle. W. 6| in.

CHELSEA. 57

346. Trav, painted in colours, with gilding, in imitation of Japanese Kakiyemon

ware. About 1755. (Pl.\te 35.J

Circular with low sides. In the middle is a circular medallion enclosing two phoenixes,
from which radiate six panels, three of them with gilt flowers and synmietrical scrolled
foliage in blue or green on a red ground, the alternate three painted with a pine-tree,
(lowering pruitus and bamboo respectively. Round the side is a conventional floral
border. Diani, 11^ in.

347. Plate, painted in colours and gilt, of the same pattern as the service given by

George III. and Queen Charlotte in 1763 to the brother of the latter, the Duke
of Mecklenburg-Strelitz. Mark, an anchor in gold. About 1763. (Pl.a.te 39.)

In the middle is an exotic bird among bushes surrounded by insects. The rim has a wavy edge
with gilt shell-pattern interrupted by live shaped panels enclosing insects in gold on a
mazarine-blue ground ; between the panels are festoons of flowers. Diam. 8} in.

348. Two Pi.ATES, iminted in black outline washed over with green and further

decorated with gilding. In the middle of one is a view with slight modifications
of Chelsea Parish Church seen from the Thames. Mark, an anchor in gold.
.•\bout 1760. (Plate 39.)

In the middle of the secon<l plate is a landscape with a pinnacled tower within a walled
enclosure. The rim of both plates has a wavy edge with gilt border. Each, diam. 8} in.

349. Soup-pl.vte, painted in underglaze blue in the Chinese style. Mark, an anchor in

blue, also under the glaze (No. 18). About 1755.

Painted in the middle with two mythical Chinese birds (feng-huang), in a rocky landscape with

trees. On the rim is a border of diaper ornament interrupted by five panels enclosing

Howers. The edge is lobed. Diam. 9 in.
Formerly in the Bandinel Collection.
Burton, English I'nrcelaiti, pi. ii.

350. Soup-plate, painted in colours and gilt, in imitation of Japanese Kakiyemon

ware. About 1755.

Twelve-sided rim with wavy edge. In the middle is a red crane standing among flowering

plants ; above is a blue crane flying. The rim is decorated with a border of conventional

flowers and close foliage. Diam. Pj in.
Burton, English Porcelain, pi. iv.

351. Plate, painted in colours. Mark, an anchor in led. About 1755. (Plate 34.)

Octagonal, the rim moulded with foliated scrollwork and painted with exotic birds in pairs
amid foliage. In the middle are a bouquet and sprays of flowers. Brown edge.
Diam. SJ in.

352. Plate, moulded in relief and painted in colours with .'\esop's fable of the Fox,

the Dog and the Cock. .'Vbout 1750. (Plate 35.)

The scene of the fable is represented as a landscape with a river and distant mountains. The
rim is moulded with shell ornament and painted with detached flowers. Diam. 9 in.

[353. Two Plates, Bow porcelain, see p. 20.]

[354. Two Plates, Staffordshire porcelain, sec p. 153.]

58 CHELSEA.

355. I'l.ATH, painted in bl;i(k outline, waslied over with green and further decorated

with gilding. About 1760.

In the middle is a landscape with ruins and shipping. Kound the rim is a gilt zigzag border.
Diam. 6;] in.

356. Dish, painted in colours with .Aesop's fable of the Eagle and the Jackdaw.

About 1750. (Pl.\tk 35.J

Oblong with fluted rim, on which are small sprays of flowers; the fable is painted in a panel
conforming with the shape of the disli. L. 8 in., W. 6; in.

[357. SwEET.MEAT-niSH, Bow porcelain, sec p. 18.]

358. S.VEETMEAT-STAND, in the form of shells and rockwork in three tiers, painted in
colours. About 1755.

The tiers are composed of large scallop-shells, edged with yellow and painted inside with
bouquets of flowers. They are supported by an erection of rockwork and weeds encrusted
with smaller shells. H. bl in., W. 8^ in.

[359. Dessert-basket and Stand, Bow porcelain, see p. 26.]

360. Pair of Sugar-bowls with Covers, painted in colours and decorated with

gilding. About 1755.

Each in the form of an oval basket with applied yellow flowers at the points of intersection,
supported on a rococo-scrolled base, round the top of which are applied flowers and foliage.
The covers are surmounted by a yellow bird among flowers and leaves. Each, H. 5 m.,
W. 3| in.

361. Pair of Sugar-boxes with Covers, each in the form of three figs conjoined,

l)ainted in natural colours. Mark inside one, an anchor in red. About 1755.
(Plate 34.)

In the Sale Catalogue for April 5th, 1756, lot 26 consists of "four fme groupes of figs"; see
Read, p. 23. Each, H. 3I in., W. 3J in.

362 CusTARD-cup, painted in colours and gilt. Mark, an anchor in gold, .^bout

1765. (PL.4TE 38.)

On one side is a lady playing a guitar and on the other a man pipmg, m a shaped panel
bordered by gilt flowers and trelliswork reserved on a mazarine-blue ground. H. 2^ m.,
diam. 2^ in.

363. PuNCH-POT AND CovER, painted in colours. About 1755. (Pl.\te 34.)

Bodv nearly globular, painted on either side with e.xotic birds among trees, curved spout
'moulded with leaf-ornament coloured green, loop handle decorated with leafy scrolls in
purple. The cover is surmounted by a lemon with leaves forming a knob and painted
with butterflies and other insects. H. SJ in., W. iij in. , , j /-i 1

..\ punch-pot of similar form of salt-glazed stoneware was acquired by Lady Charlotte
Schreiber in 1873, with an inscription notifying that "this Punch-pot" was made to
celebrate "Chapman's return to Hull"; it was destroyed in the fire at the Ale.xandra
Palace in 1873.

120. Coffee-pot and Cover, painted in colours. About 1755. (Plate 34.)

Bulbous body, wide neck, long curved spout, scrolled loop handle, domed cover. Both body
and cover are reeded. On either side of the body and on the cr>ver are sprays of flowers ;
the spout is moulded at the top and bottom with cabbage-leaves edged with green.
H. 8| in., diam. 4J in.

CHELSEA. 59

121. CoiFEE-POT AND CoYER, painted in colours. (Pl.\te 34.)

Pear-shaped body, wide neck, long curved spout, scrolled loop handle, domed cover. Both
body and cover are reeded. On either side of the body are birds perched on branches
of fruit-trees; the cover is painted with insects. The spout is moulded at the top and
bottom with cabbage-leaves edged with green and yellow. H. 8f in., diam. 4^ in.

Bought at Frankfort-on-the Main on September 15th, 1880, see Joimials, ii., p. 288. "Went
out to explore the shops. Found it was a Jews' holiday and every place shut up, except
one, where we got a beautiful Bow Coffee Pot, painted in birds, but unfortunately
cracked."

98. Jug, painted en camdieu in crimson and gilt. About 1755. (Plate 34.)

Slightly flattened ovoid bodv, projecting lip moulded with a mask wearing a frilled collar,
scrolled loop handle. Painted with flowering plants, wattled fencing, and sprays, adapted
from designs on Japanese Kakiyemon ware. Round the top is a border of flowers and
foliage on a rontinuDUS wavy stem. H. yj in., W. 5 in.

99. Kg, painted in colours. On the front is the initial " G " under a baron's coronet.

About 1755. (Pl.\te 34. j

Ovoid body, wide neck tapering slightly upwards, projecting lip, scrolled loop handle. The
initial is surrounded by a wreath of flowers and barley ; at the back are sprays of
flowers and insects. The handle is decorated with leafy scrolls in red. H. 9 in.,
diam. 5I in,

100. Jug, painted in colours. .^\bout 1755.

Pear. shaped with projecting lip and scrolled loop handle. Painted on either side with groups
of birds, in one case in a landscape, in the other perched on a branch. Below the lip
are insects. The rim has a brown edge, and the handle is painted with conventional
ornament in crimson. H. &\ in., diam. 6 in.

[364, 365. Jugs, Chelsea-Derby porcelain, see p. 74.]

366. Jug, painted in colours. .-Vbout 1755. (Pl.\te 34.)

Pear-shaped body, spreading foot, projecting lip, scrolled loop handle. Painted on one side
with a group of exotic birds among bushes, and on the other with a single bird on a
branch. H. 5j in., diam. 4J in.

367. Jug, painted in colours. About 1755. (Plate 34.)

Ovoid, with projecting lip moulded in the form of a bearded mask, loop handle, (^n one
side are two exotic l)irds perclied on a bush with a heap of fruit in the foreground.
The other side is painted with ears of barley and flowers. H. 6.^ in., diam. 4? in.

[368. Mug, Bow porcelain, see p. 24.]

369. Mug, painted in colours. Mark, an anchor in red. About 1755. (Plate 34.)

Inverted bell-shaped with loop handle. On one side is a bouquet ; the remaining surface is
painted with scattered sprays of flowers. H. $\ in., diam. 4} in.

103. Mug, painted in colours. About 1755.

Inverted bell-shaped with scrolled loop handle ; painted on one side with a group of exotic
birds among trees, and on the other with a single bird perched on a branch. H. 5J in.,

diam. 4J in.

6o CHELSEA.

370. I'.Mi; oi' Mugs, painted in colours. .About i/f-if-

riarrel-stiaped with hoops in low relief and loop handle. Painted with two bouquets and
small sprigs of flowers. H. 53 in., 5! in. respectively; each, diam._ 4 in.

These mugs are similar in style of painting to two butter-tubs (No. 40S), on which the
turquoise-blue pigment appears.

371. Mug, painted in colours, .\bout 1755. (Pl.vte 34.)

Ovoid body painted on one side with a bouquet, and on the other with a spray of flowers,
slightly expanding mouth, scrolled loop handle. H. 4 in., diam. 3^ in.

372. l').\siN, painted in colours in the style of Meissen porcelain. Mark, an anchor

in red. .About 1755. (Pl.\te 34.)

Octagonal wi h projecting rim. Painted outside with floral sprays_ and a butterfly, and
inside on, the bottom with a bud and two insects. H. 2j in., W. 4-J- in.

373. lUsiN, painted in colours in imitation of Chinese porcelain of the jamille vevtc.

Mark, an anchor in red (No. 17). .About 1755. (Plate 34.)

Of the same form as No. 372. The outside is painted with two groups of chrysanthemums
and other flowering plants, and with narrow borders of Chinese sceptre-head ornament.
Inside on the bottom is a chrysanthemum spray, and on the rim a border of floral
ornament on a dotted green band. H. 2f in., \V. 4 in.

374. Pair of Cups, painted in colours. About 1755. (Plate 34.)

.Xearly cylindrical with rounded base and wavy edge. Painted, one with two partridges
among herbage on one side, and with a duck flying on the other, the other with a
group of birds among rushes and herbage on one side, and with two birds flying on the
other. Each, H. 2% in., diam. 3I in.

375. Basin, painted in colours in imitation of Japanese Kakiyemon ware. Mark, an

anchor in relief on an applied oval medallion. About 1750. (Plate 35.J

Hexagonal with wavy rim turned slightly outwards. The outside is painted with a tiger and a
dragon, with /i^Hinis-tree, chrysanthemum, bamboo and Pauhm'tiia imperialis: on the inside
are a coiled dragon and sprays of flowers. H. 3 in., diam. 6| in.

376. Basin, painted en cama'ieu in crimson. About 1755. (Plate 35.)

Octagonal with rim turned outwards. Painted outside with an Oriental caravan in a desert, a
bouquet of flowers and a butterfly : inside the rim are also bouquets. H. 3I in., diam. 6 in.

377. Tea-pot and Covek, painted in colours and gilt, in imitation of Japanese

Kakiyemon ware. Mark, a triangle incised. Made about 1745, but probably
decorated some years later. (Pl.ate 35.)

Hexagonal, with loop handle and short strait spout. The body and cover are divided into six
panels,' decorated alternately with a gilt rosette amid white foliated spirals on a red ground
and with a floral sprav or a fan and ribbons. H. $\ in., diam. 4I in.
The decoration is of the same pattern as that of two cups and saucers. No. 403, and a vase.
No. 237, which is marked with an anchor in red.

378. Tea-pot and Cover, painted in colours in the style of Meissen porcelain. Abou;

1755- (Plate 35.)

T"he body, straight spout, and cover are reeded. The body is painted with sprays of flowers and
insects. On the cover is a landscape with a ruin. H. 4! in., diam. 3I in.

CHELSEA. 6i

379. Cream-jug, moulded in relief and painted in colours. Mark, an anchor in red.

About 1755. (Plate 34.)

Of oval section, spiralU' fluted, with \va\'y rim, scrolled loop handle, and a border of acanthus
foliage in relief, coloured green, pink and yellow, round the base. The upper part is painted
with a bouquet and sprays of flowers in colours. H. 3I in., W. <,\ in.

380. Cream-jug, painted in colours. About 1755.

Of oval section, reeded, with scalloped rim and scrolled loop handle. On either side is a
landscape with ruins in a shaped panel ; on the front and inside on the bottom arc floral
sprays. On cither side of the handle is an insect. H. 3]: in., \\'. 3^ in.

381. Saucer, painted in colours. Mark, an anchor in relief on an applied oval

medallion. About 1750.

Painted with a group of fruit. Scalloped riin. Diaiii. 4J; in.

382. Saucer, painted in colours in imitation of Japanese Kakiyemon ware. Mark, an

anchor in relief on an applied oval medallion. About 1750.

Octagonal, with border of conventional flowers amid close foliage in red and yellow. In the
middle is a coiled dragon within a circular medallion, outside which are two cranes, a
pine-tree and bamboo. Diam. 35- in.

383. Two Saucers, painted in colours, in imitation of Japanese Kakiyemon ware.

.Mark, an anchor in relief on an applied oval medallion. About 1750. (Plate 35.)
Octagonal, painted with a lady beside a pavilion hung with curtains in which is a vase, .\bovc
is a bird flying. Diam. 4^ in., 4j in. respectively.

384. Two Saucers, painted en camaieu in crimson with .Aesop's fables of the Lion and

tiie Mouse, and the Wolf and the Crane respectively. Mark, on the first, an
anchor in relief coloured red on an applied oval medallion, on the second, an
anchor painted in red. .Xboiit 175s-

Wavy rim painte^d with Hor,-il spr.iys. Di.ini, 4 in., ^] in. rfbpec:tivcly.

385. Cup and Saucer, painted in coloms ; on the saucer is Aesop's iabie of tiie Two

Pots. Mark, an anchor in relief on an ajjplicd oval medallion. About 1750.
(Plate 35.)

Jjoth pieces octagonal. The cup, which has no han<Ue. is painted with two bears in a landscape.
The fable on the saucer is painted in a circular medallion surrounded by sprays of flowers.
Cu]), H. 2} in., diam. 3} in.; saucer, diam. 3J in.

386. Cup, painted in colours, in the style of Meissen jjorcelain. Mark, an anchor in

relief on an applied oval medallion. About 1750. (Plate 36.)

Of cinquefoil section, moulded with narrow wavy leaves and painted with detached flowers
and caterpillars. H. jj in., diam. 2J in.

387. Cii' AND Saucer, painted in colours; on the saucer is .\csoj)'s fable of the 1 lorse

and the Stag. Mark, on the cup, an anchor in relief on an applied oval
medallion. .About 1750. (Plate 35. j

Itotli pieces octagonal. The cup, which has no handle, is painted with two panthers in a
landscape. The fable on the saucer is painted in a circular medallion surrounded liv
sprays of flowers. Cup, II. 2.J in., diam. 3', in.; saucer, diam. si '".

62 CHELSEA.

388 Cup and Saucur, painted in colours in imitation of Japanese Kakiyemon ware.
Mark on the saucer, an anchor in relief on an applied oval medallion. About
1750. (Platf. 35.)

The cup is fluted and lias a scrolled loop luindle ; it is painted on either side with a quad among
(lowering plants. The saucer has a lluted rim, painted with birds flying or perched on
branches of llowers. Cup, H. 2| in., diam. 3I in. ; saucer, diam. 4^ in.

389. Cup, painted in colours and gilt. Mark, an anchor in gold, .\bout 1760.
(Plate 38.)

On either side is a group of exotic birds among bushes painted in colours, in a shaped panel
with a border of gilt flowers and scrollwork reserved on a mazarine-blue ground. 1 wo
wavy loop handles. H. 2] in., W. il in.

390 CiiocoL.vrE-cup and Saucer, painted in colours and gilt, in the style of Meissen
porcelain. Mark on the cup, an anchor in gold. About 1760. (Pl.\te 38.)
Both pieces are painted with sprays of flowers in colours on a yellow ground. The. cup has two
rococo-scrolled loop handles. Cup, H. 31 in., W. 5} in. ; saucer, diam. 5^- in.

391. Chocolate-cup .vxd Saucer, painted in black outline washed over with green
and further decorated with gilding. Mark, an anchor in gold. About 1760.
'Ihe cup has two scrolled loop handles and is decorated on either side with a landscape with
buildings; on the saucer are two similar landscapes. Cup, H. 2^ in., W. 3J in. ; saucer,
diam. j| in.

[392. Cups and S.vucers, Chelsea-Derby porcelain, sec p. 74. J

393. Two Tea-cups and Saucers, painted in colours and gilt. Mark, an anchor m
gold. About 1765.

The cups and the rims of the saucers are fluted. Botli cups and saucers are decorated with a
border in purple and gold twined about with turquoise-blue ribbons, and with sprays of
flowers. The cups have no handle. Both cups, H. i| in., diam. y, in. ; saucers, diam.
4I in., 4-|- in. respectively.

[394. Cups and Saucers, Chelsea -Derby porcelain, see p. 74.]

395. Two Tea-cups and Saucers, painted in colours and gilt. Mark, an anchor

in gold. About 1760.

Tlie lower part of the cups and a wide band round the middle of the saucers are moulded w itfi
imbricated scale-pattern. Both cups and saucers are painted with sprays of flowers and
fruit. The cups liave no handle. Cups, H. ij in., diam. if in.; saucers, diam. 4; m.

396. Chocolate-cup and Saucer, painted in colours and gilt. iNIark on the saucer,

an anchor in gold. About 1765. (Pl.vte 38.)

Both pieces are decorated with imbricated peacock's-feather pattern in slight relief, painted in
crimson, yellow and turquoise-blue, beyond which are gilt festoons of laurel leaves. The
cup has 'two scrolled loop handles. Cup, H. 24 in., W. 4^ in.; saucer, diam. 5J in.

397. Coffee CUP .vnd Saucer, painted in colours and gilt. Mark, an anchor in

gold. -About 1770.

Botli pieces have a border of conventional leaves in turquoise-blue twined about bands of
crimson and gold, the remaining surface being painted with flowers in colours. Cup,
II. 2I in., diam. 2^ in. ; saucer, diam. 5} in.

CHELSEA. 63

398. Two Tea-cups, painted in colours and gilt. Mark, an anchor in gold. About 1765.

Decorated outside with a border of gilt festoons of vine-leaves on a dark blue band with
shaped edge, below which are sprays of flowers in colours. On the bottom inside is als© a

floral s])ray. Each, H, ij in., diam. 3 in.

399. Cup, painted en camaieu in crimson. Mark, an anchor in red. About 1755.

(Plate 34.)

The cup is reeded, with scalloped edge, and has no haiidlt-. It is painted with a skirmish of
cavalry beside a lake. H. 25 in., diam. 35 in.

[399a. Saucer, Chinese porcelain, see p. 166.]

400. Two Tea-cups axd Saucers, painted in colours. Mark, on one cup and one

saucer, an anchor in red. About 1755.

Both cups and saucers are painted with large sprays of llowers and insects. The cups have no
handle. Cups, H. i| in., i ! in., diam. 2j in., 2| in. respectively ; saucers, diam. 4I in., 4J in.
respectively.

401. Cup, painted in colours. Marked with crossed swords under the glaze in blue

in imitation of Meissen porcelain (No. 24). .\bout 1750. (Plate 36.)

Octagonal with loop handle. Painted outside witli insects and inside with a bouquet tied with
a ribbon. H. 2} in., diam. 2f in.

The occurrence of a mark so unusual on Ciielsca porcelain suggests that the piece may have
been made to complete a Meissen service. The cup was bought by Lady Charlotte Schreiber
in Paris on .March nth, 1872, see Journals, i., p. 136, " On our way [to the Ouai Voltaire]
we had met with a curious Octagon Chelsea cup, painted with insects, and marked in blue
with the Dresden swords, 12s., this was at Cliapin's."

402. Twn Cups and Saucers, painted in colours. About 1755.

The cups have two scrolled loop handles and the saucers an openwork gallery to receive the
cups decorated outside with applied rosettes. Both cups and saucers are painted with sprays
of flowers. Cups, H. i^ in., W. 4^ in.; saucers, diam. 5} in.

403. Twd Cups axd Saucers, painted in colours and gilt, in imitation of Japanese

Kakiyemon ware. Xbout 1750.

Both cups and saucers are octagonal, the sides being decorated alternatL-ly with .a gilt rosette

amid white foliated spirals on a red ground, and with a floral spray and a fan and

ribbons. Cups, FL ij in., diam. 2j in. ; saucers, diam. 4J in.
These cups and saucers are of the same pattern as a tea-pot, No. 377, and vase, Ko. 237.

".\n octagon Chelsea tea-set in imitation of old Japan £j los.," figures in a sale catalogue

of 1771 ; see Nightingale, p. .\l.

404. CoFi-EE-cup AXD Saucer, painted in colours and gilt. About 1770.

On either side of the cup are two exotic birds among bushes painted in somewhat pale colours
in a shaped panel, bordered by gilt trelliswork and flowers, reserved on a mazarine-blue
ground ; the rim of the saucer also has a mazarine-blue ground, with similar pairs of
birds in three reserved panels. Cup, H. 25 in., diam. 2J in.; saucer, diam. 5',- in.

This cup and saucer are doubtfully included under this heading. The quality of the glaze and
pale colours suggest that they may have been made at Chelsea during the " Chelsea-Derby "
period of the factory, see p. 6j.

405. Cup, painted in colours in imitation of Japanese KakiNCmun ware. About

1750. (Pl.\te 35.)

Bell-shaped with slight fluting and wavy edge : painted outside with two quails, a /n-uMiis-tree,
and other flowering plants. Inside are floral spravs and a ladv-bird. H. 2;; in., diam.
35 in-

64 CHELSEA.

406. Saucer, painted in colours with Aesop's fable of the Wolf and the Goat. .'Xbout
1750-

Octagonal. Ihe subject is painted in .1 circular medallion surrounded by S[)rays of flowers.
Diani. 4'|' in.

[407. Cur, Chelsea-Derby porcelain, sec p. 75.]

408. Pair oi- Butier-tubs with Covers and Stands, painted in colours. About

1765-

The tubs cylindrical, expanding slightly upwards, with three small scroll feet and two handles
rising above the rim. On the top ol the covers is a scrolled ring handle. The stands have
a scalloped rim. All the pieces are painted with boucjuets and sprays of flowers. Tubs
with covers, H. 5 in. each, diam. 4J in., 4I in. respectively ; stands, diam. 5if in., 6J in.
respectively.
Bought at Amsterdam on November 5th, 1872, see Journals, i., p. 172, "On to Kalb and Soujet's,
where we ... . revived our drooping spirits, for at all the places we had visited
before we had heard of nothing but absurd prices, without seeing anything we cared to
have. Noic we are able to buy a pair of Chelsea butter-boats, covers and stands, very-
perfect and unusual, £3." " Two small butter-tubs, covers and plates, enamel'd in flowers "
appear as lot 30 in the Sale Catalogue for .March 31st, 1756, see Read, Chelsea Porcelain,
p. 10.

111.— CHEl.SEA-DERBV.

THE porcelain made by William Duesbury between 1770 and 1784,
during which period he carried on the factories at Chelsea
and Derby concurrently, is known as " Chelsea-Derby " porce-
lain. Generally it is not possible to distinguish between the produc-
tions of the two places unless a distinctive mark occurs. The
customary mark of the joint factories consists of a D intersected
by an anchor in gold, but the simple gold anchor mark continued
in use for some time after 1770, and pieces bearing it may safely be
ascribed to the Chelsea works. ^ Certain other pieces in the decoration
of which Chelsea traditions are apparent may also be assigned with
probability to the same place of origin.- Specimens bearing the dis-
tinctive marks of the Derby factory will be described in the next
division.^

Chelsea-Derby porcelain is characterised by sobriety of modelling,
somewhat subdued colouring, and the pseudo-classical forms and motives
of decoration of the Louis XVI. style. An overglaze blue enamel in
imitation of the bleu de roi of Sevres * now takes the place of the earlier
underglaze mazarine-blue. The statuettes of this period are usually
only slightly tinted w'ith washes of pale colour ; figures in unglazed
biscuit porcelain also began to be made.^ They are generally charac-
terised by an air of sentimentalism and affected simplicity, traceable
to the influence of Boucher and his school, in striking contrast with
the vigorous abandon of man\- of the earlier Chelsea models. The mark
" No." followed by a numeral, found incised in the paste under the
base of some of the figures,'' refers to the number of the model in
the price-list of the Derby factory, and shows that such pieces were
probably made at that place. The models were often made in several
sizes, and references to these are also sometimes found incised under
the fiscuresJ

1 Nos. 392, 394. - Nos. 180, 364, 365, 456. * See p. 76.

' Nos. 435, 438, 443, etc. '■' Nos. 413, 419. 429.

" Nos. 415-418, 420, 424, 429. ' No. 421.

I '.12511

66 CHKLSEA-DKl^BV.

§ I. STATUETTES AND BUSTS, COLOURED.
Nos. 409-434.

These iire all decorated in enamel colours, generally somewhat pale
in tone, and gold, except Nos. 180, 203, 414, 433 and 434, in which the
gilding is absent.

409. TiMK CLIPPING THE WiN'GS OF LovE, from a painting by Sir Anthony V'andyke,
formerly in the collection of the Duke of Marlborough at Blenheim, of wfiich
a mezzotint by Charles Phillips, dated 1772, accompanies the Collection,
No. 1819. (Pl.\te 40.)

Time is seated on a pedestal of masonry with flowered drapery thrown round his waist, holding

Cupid on his knee. .\t his feet, on the scrolled base, are a scythe, hour-glass, crown, sceptre,

terrestrial globe, and skull, and Cupid's quiver. H. 8J in.
In the catalogue of the first sale of the united Chelsea and Derby factories, April 17th, 1871,

lot 25, is " A curious figure of Time clipping of Cupid's wing, finely enamel'd, and

ornamented with burnish'd gold, 61. " ; see Nightingale, p. 22.
Bought at Hamburg on October 14th, 1880 ; see Journals, ii., p. 306, " At Lissauer's acquired a

lovely Chelsea bird and a Chelsea-Derby figure of ' Time clipping Love's wings.' all for £^."

179. Mercury. (Plate 40.)

He has flowered drapery thrown loosely round him and a winged cap, and stands with a purse
in his right hand and a caduceus in his left. At his feet are a money-bag and a bale of
merchandise among clouds on a rococo-scrolled base. H. 134: in.

180. B.\ccHLS WITH .\ Youthful Satyr, emblematic of Autumn, one of a set of

the Four Seasons, copied from a Meissen figure, modelled, probably by Johann
Friedrich Eberlein, about 1740. (Plate 40.)

Bacchus stands by a tree-stump, from which springs a vine with bunches of green and
purple grapes and foliage ; the branches of the vine are wreathed about his naked body,
and with fiis left hand he holds a bunch of grapes above his mouth. The satyr is seated
behind him on a barrel, with a cup held to his lips. The whole is supported on a
rococo-scrolled base. The colouring is slight, — pale tinting of the flesh and ha-r, light
purple and green for the grapes and leaves, and touches of crimson and turquoise-blue
on the pedestal. H. lOj in.

This figure was probably made at Chelsea during the Chelsea-Derby period. .•\ complete .set
in Chelsea porcelain was formerly in the Emden Collection, Hamburg ; see Sammlung
Hermann Emden, Hamburg, Erster Teil, Berlin, igo8, pi. 67, No. 815. Compare also
Doenges, A/eiss«fKPi))'£t'//a)j, pi. xviii : Fischer, Sammlung Alt-Meissner l^orzellan, pi. xxxv..
No. qog ; Kunst-Sammlung F. von Purpart, Berlin, 191 2, pi. 30, No. 65g.

Bought at Rotterdam on October 15th, 1873; see Journals, i., p. 231, " Pluyne's had a grand
Chelsea figure of Autumn, covered with grapes, wanting a hand, which we hope to get
restored in china for us at Minton's works, and for which we gave £8 " ; also ii.,
illustration facing p. 324.

205. David Garrick (b. 171 7, d. 1799) in the character of King Richard III.,
modelled from an engraving by J. Dixon published in 1772, after the painting
by Nathaniel Dance exhibited in the Royal Academy in 1771. (Plate 40.)

He wears a red ermine-lined sleeveless robe over a breast-plate, doublet and hose, and stands
in a striding attitude beside a tree-stump on an oblong base, on which are applied
flowers and foliage; his plumed hat lies at his feet. H. 11} in.

In the Sale Catalogue of the united Chelsea and Derby factories for February qth, 1773, is
" .\ fine figure of Garrick in the character of Richard the Third, in biscuit, i/. los. The
figure is No. 21 in the Derby price list of groups and figures, where it is attributed to John
Bacon, R.A. (b. 1740, d. 1799). See Nightingale, Contributions, p. 400 : Haslem, pp. 152, 1 17

CHELSEA-DERBY. G7

410. Pair of Statuettes, Discretion, symbolised by Cupid, and Prudence, as a little

girl. (Plate 41.)

Both figures are nude except for a loose scarf thrown round the body ; they stand each on
a rocky mound covered with flowering plants and shells, beside an urn hung with
festoons supported on a square pedestal. Cupid has his quiver slung on his left shoulder
and is raising his forefinger to his lips. Prudence holds a snake in her right hand and
a mirror (of which only the handle remains) in her left. H. 8 in., 8| in. respectively.

These figures are probably similar to those described in the Sale Catalogue of the united
Chelsea and Derby factories for April 17th, 1771 (lot 61), as "A pair of figures, Pru-
dence and Discretion, each a curious antique urn, on pedestals, in festoons of chased gold,
and highly finish'd in burnish'd gold 5/. 2s. 6d. " ; see Nightingale, p. ig. In the British
Museum is a figure from the same model as the " Prudence " ; see Hobson, Catalogue, p. 62,
No. II. 305, where it is suggested that the figure may represent Hygieia, and Nos. 412 and
413 in the Schreiber Collection are cited for comparison as works of the same modeller.

411. Group of cupids, emblematic of Astronomy and Geometry. 1773. (Plate 41.)

Two cupids, one of them seated on a rock looking through a telescope, the other standing
and measuring with compasses on a sheet of paper, which he holds spread out on a
terrestrial globe. Supported on an oblong pedestal with incurved sides, decorated with
scrolled masks and gilt wreaths. H. 7 in., L. of pedestal, 4]; in.

This group forms a set of three with Nos. 427, 427a. '• Science groups " are mentioned in
the Sale Catalogue of the united Chelsea and Derby factories for April 17th, 17S0; see
Nightingale, p. 58. A porcelain group adapted from the same original, probably a Meissen
model, was produced about 1770 at \'ienna ; see Folnesics, Sammlung Karl Mayer, pi. Ix.wii.

412. Group. Three children, representing Minerva crowning Constancy and Hercules

killing the Hydra.

The figures are grouped round an obelisk, which is surmounted by a gilt ball and overgrown
with ivy ; it rests on the top of a rocky mound covered with flowering plants. Beside
the figure of Constancy are a broken column and a burning brazier. H. 12J in.

In the catalogue of the first sale of the united Chelsea and Derby factories, April i8th, 1771,
lot 39, is " A curious group of three figures, richly enamel'd, Minerva crowning Constancy,
and Hercules killing the Hydra, with a pyramid in the middle, highly finish'd in burnish'd
gold, 6/." ; see Nightingale, p. 23. Compare also note on No. 413.

[413. Group, biscuit porcelain, see p. 71.]

414. Triton, copied from one of Wedgwood's models. Mark, "G " incised. (Plate 40.)

The Triton holds a cornucopia and is supported on a rockv base covered with weeds and

shells. H. 8| in.
See Meteyard, Josiah Wedgwood, vol. ii., p. 218, where an engraving is given from a drawing in

one of Wedgwood's order books.

415. Group. A boy and girl dancing. Mark, 46 incised. (Plate 41.)

Tlie figures are dancing with hands clasped behind their backs. The boy wears a black hat
with light blue ribbon, white jacket and waistcoat, and yellow breeches, the girl a white
dress with pink lacing in front, a white apron, striped yellow petticoat, and in her hair
coloured ribbons. H. 6} in.

This group is an adaptation of a model by Falconet, entitled La Danse allemande, produced
in 1765 at Sevres; see Lechevallier-Chevignard, Si-t't-m, illustration, p. 27, Bourgeois and
Lechevallier-Chevignard, Le Biscuit de Sevres, pi. 11, no. 170.

203. Group. "The Tithe Pig."' (Plate 41.)

The group represents a farmer's wife offering her baby to a clergyman in payment of tithe,
instead of a pig which is held by her husband under his left arm The figures are
dressed in costume of tlie period and stand under the shadow of a flowering tree; on the
ground are a basket of eggs and applied flowers and foliage. H. 6J in., W. of base, 4 J in.

Bought at Brussels on September 20th, 1882, see Journals, ii., p. 384, ". . . our best find was
at Craenen's, where we met with an admirable group of the Tilhe pig in good old Chelsea,"

E 2

68 CHELSKA-DERBY.

416. Pair of Figures. A boy with a dog, and a girl with a cat. Mark, on the

boy "N 49" and " G," on the girl "No. 49 " and " M," incised. (Plate 41.)

The boy is dressed in fanciful costume and kneels on a rocky mound with his arms round a

dog, which has a cocked hat on its head. The girl wears a blue bodice, red-lined black

cape, flowered skirt, and white apron, and hugs a cat with a linen cap over its head.

H. 53 in., 5§ in. respectively.
In the Sale Catalogue of the united Chelsea and Derby factories for March 29th, 1773, one

lot is " A pair of laughing figures enamelled white and gold, dressing a macarony dog

and cat, 17s." See Nightingale, p. 45.
Bought in Paris on April iSth, 1873 ; see Journals, i., p. 184, ". . . found at Mme. Flaudin's

a lovely pair of Derby-Chelsea figures ; Boy with dog and Girl with cat. They were

very dear, but quite irresistible at £n-"
Church, figs. 22, 23 ; Dillon, Porcelain, 1910, fig. 274.

417. Group, one of a pair, emblematic of Summer and Autumn. Mark, " No. 68,"

incised. (Plate 41.)

Summer is symbolised by a girl standing with a sickle and a sheaf of corn, and .Autumn
by a boy seated on a barrel holding bunches of grapes. The former wears a pink-lined
white hat, a light blue laced bodice, and a white apron over a striped skirt ; the latter,
a pink coat, flowered waistcoat and yellow breeches ; he holds his black hat full of grapes
in his right hand. The figures are placed on a green mound with a tree-trunk beside
them. H. 8J in.

418. Aesculapius. Mark, " No. gg," incised. (Plate 41.)

Bearded standing figure, clad in a pink-lined himation thrown over the right shoulder, leaning
on a long club or staff and holding a scroll in the right hand. Square base. H. 6| in.

[419. Statuette, biscuit porcelain, see p. 71.]

420. Pair of Groups, copied from two Sevres groups known respectively as " La

Bergere des Alpes" and " L' Oracle ou le Noeud de Cravate," modelled in 1766
by Etienne Falconet after designs by Frangois Boucher. Mark, on one
" No. 256," on the other " No. 255," and on both a cross, incised. (Plate 42.)

The first group consists of a youth reclining at the feet of a girl, whose hand he holds ; she is
seated on a rocky mound by a tree and has a lamb lying beside her. The youth wears
a pink short-sleeved jacket over a flowered waistcoat, light blue sash and yellow breeches,
the girl a light blue bodice laced in front and a skirt of the same colour over a flowered
petticoat. The second group represents a girl, also seated on a rock beside a tree, tying
a kerchief round the neck of a youth who kneels with clasped hands before her ; by her
side is a basket of fruit. Except for small details, the figures are similarly attired to
those in the first group. H. 12 in., ii| in. respectively.

The maqueltcs of the original groups are preserved in the Musee Ceramiqueat Sevres ; compare
Bourgeois and Lechevallier-Chevignard, Le Biscuit de Sevres, pi. 9, Xos. no, 481.

Bought at Amsterdam on .-August 17th, 1869: see Journals, i., p. 33, "Our ne.\t best haul was
with Speyers, St. Anthony, Breestraat ; from him we made several purchases, some of
thorn likely to prove good. Two groups of Derby-Chelsea figures, man and girl^ in
bocage of leaves, good condition, only two fingers wanting, ' Proposal ' and ' Acceptance ' (?)
£iS" ; also ii., illustration facing p. 466.

Chaffers, fig. 428.

421. Boy, emblematic of Winter. Mark, " P) " and "small," incised.

He wears a red fur-lined jacket over a blue waistcoat, yellow breeches and fur-lined boots, and
is stooping to lift a faggot on to his shoulders ; he is resting his right knee on a small mound
on which grows a holly-bush. Circular base. H. 6| in.

CHELSEA-DERBV. 69

A complete set of the figures to which this model belongs is exhibited in the Museum in the

bequest of Capt. H. B. Murray, Nos. C. 2583-2586 — 1910.
Bought at Brussels on October 14th, 1874, stv /oui-Ha/s, i., p. 321, " Xext to Handelaar's . . .

he had a small Chelsea-Derby figure of Winter (the boy carrying sticks) of beautiful quality,

which we bought for £■;."

422. Cupid with a dog, painted in colours and decorated with gilding. Mark,

"No. 2i3g," incised.

Cupid has a gilt hunting-horn slung over his right shoulder and a spotted scarf thrown about
him ; he reclines against a tree on a flower-covered mound caressing the dog, a black and
white terrier, which is licking his chin. H. 4! in.

423. Group, copied from an engraving by Jacques Philippe Le Bas, after a

painting by Frangois Boucher, dated 174.7, now in the National Museum,
Stockholm, entitled " Peiisent-ils au raisin?" An impression of the engraving
accompanies the Collection, No. 1820. (Pl.\te 43. j

A youth and a girl seated with a lamb between them on a rocky mound, offering each other
grapes. The youth is attired in a short-sleeved coat over a waistcoat with a sash, and knee-
breeches, the girl in a laced bodice and full skirt ; both are bare-legged. The girl has
grapes in her lap and in a basket on her right arm. Several bunches are strewn on the
ground and in the youth's hat which lies at his feet. The colouring of the group is slight,
crimson and pale green for the grapes and foliage, black and yellow for bows on the costumes,
and tinting in natural colours for the hair and flesh. The costumes are white with gilt
lines. H. 8| in., W. 7J in.

Solon, pi. xi. ; Journals, ii., illustrations facing pp. 324, 4(^6. Compare also Michel, Fraiifois
Boucher, Catalogue No. 1554.

424. Group, emblematic of Music. Mark, "No. 217" and " B," incised (No. 28).

(Pl.\te 40.)

The group consists of a standing female figure in llowered classical robe, playing a llute beside a
truncated column, and of two boys, naked except for scarves of coloured drapery, one of
whom stands hojding up a roll of music, while the other sits with a violin at the foot of the
column. On the top of the latter are a tambourine, books and a sheet of music; other
instruments and a book lie on the flower-covered mound which forms the base. H. g^ in.,
W. of base, 5 in.

Probably similar to the " large music group " which figures in the Sale Catalogue of the united
Chelsea and Derby factories for May 5th, 1778; see Nightingale, p. 52.

425. P.MR OF St.\tuettes of Musicians. (Pi,.\te 41.)

A gentleman and lady playing a flute and a lute respectively, each seated on a high-backed chair
and supported on an eight-sided base. The gentleman wears a pink-lined white coat,
Howered waistcoat and lavender-coloured breeches; his hat hangs on one corner of his
chair, and beneath it is an instrument-case with books piled upon it. The lady is attireil
in a flowered dress, and has a spaniel on her lap. Underneath her chair is a second lute
with books piled upon it. H. 6{ in., 6ij in. respectively; each, VV. of base, 3,[ in.

Bought in Paris on November nth, 1880, sff yunma/s, ii., pp. 322, 323, " . . . . at Jurnel's,
we saw a lovely pair of little Chelsea-Derby figures, seated, and playing on instruments,
which were offered to us as ' Saxe ' .... We called at Jurnel's and concluded for the
Chelsea-Derby figures at £g."

426. Cupid in a large wig playing on a pipe. (Pl.\te 41.)

Standing figure, wearing only white frills on the wrists and a cloth round the waist, supported

by a green stump on a gilt scrolled base. H. 4J in.
Probably from a Chelsea model. Frequent notices occur in the Chelsea Sale Catalogue

for 1756 of " Cupids, representing Inve in disguise, playing on different sorts of music, for a

desart " ; see Read, Chelsea Porcelain, p. n.

70 CilJiLSEA-DERBY.

427. Group of Cupids, emblematic of Commerce. 1773. (Pi,.\ti; 41. j

Two cupids draped with scarves, one of them taking money out of a bag, the other seated on tlie
edge of a bale of goods making notes on a slate. Supported on a pedestal similar to
that of No. 411, with which group this and No. 427a form a set of three. H. 7 in.,
L. of pedestal, 4 J in.

427a Group of Cupids, emblematic of Arithmetic, copied from a Meissen group,
modelled about 1770 by Michel Victor .-\cier. Dated 1773. (Pl.\te 41.)

Two cupids draped with scarves, one of them writing in a ledger, which is supported by the
other who kneels on a pile of books and holds an inkpot in his left hand. Two of the
books have inscriptions, of which the following is legible: " Apr. 6th, 1773. Put to That
£1 y. od." Supported on a pedestal similar to that of No. 411, with which group this
and No. 427 form a set of three. H. 7 in., L. of pedestal, 4} in.

Compare .Mbum of the Royal Saxon Porcelain Manufactory, No. C 36; also Fesliiv
Publication, p. 68.

[428 P.A.IR OF Groups, Sevres biscuit porcelain, see p. i6g.]
[429 Statuette, Chel^'ea- Derby biscuit porcelain, see p. 71.]

430. P.MR OF Busts, emblematic of Spring and Winter (the latter adapted from a

Meissen model). Mark " G," accompanied on the "Spring" by other indistinct
letters, incised. (Plate 41.)

Spring is represented by a girl with a wreath of flowers in her hair and a flowered robe thrown
round her shoulders, Winter by a bearded man wearing a fur-lined pink cloak over his
head ; both busts are supported on an eight-sided pedestal. H. 3I in., 3? in. respectively.

431. Bust of Alexander Pope (b. 1688, d. 1774), adapted from a portrait painted

in 1716 by Sir Godfrey Kneller and engraved in 1717 by J. Smith. (Plate 41.)

Wearing a red cap and a blue coat, over which is thrown a mauve cloak. Oblong pedestal with
bowed front. H. 6f in.

Bought at Utrecht on October 4th, iS6g, see Journals, i., p. 45 " .... we returned by the
train to Utrecht .... Went by appointment to the Jew .... we managed to
buy .... a bust of Pope, soft paste, £1."

432. Bust of Jean-Jacques Rousseau (b. 1712, d. 1778), adapted from a portrait

painted by J. H. Taraval, based on a bronze medal, dated 1761, by Frans
Gabriel Leclerc, and engraved in 1766 by C. H. Watelet. (Plate 41.)

The philosopher is dressed in his .Armenian costume, consisting of a fur-cap and fur-lined brown

caftan, over which is thrown a mauve cloak. Circular pedestal. H. 6j in.
Compare P<uftenoir, Portraits de J. -J. Rousseau, pi. 18, pi. 20, pi. 118.

433. Figure of a Pointer. (Plate 41.)

The dog is coloured after nature and stands supported by a tree-trunk on a base covered with
flowering plants. H. 4^^ in., L. 5', in.

434. Figure of a Squirrel. Mark, "O" and a stroke incised.

'1 he squirrel is coloured after nature, has a black collar, and is seated on a green mound eating a
nut. H. 3^ in.

CHELSEA-DERBY. 71

§ 2. FIGURES IN UNGLAZED BISCUIT PORCELAIN.
Nos. 413, 419, 429.

The first two belong to the Chelsea-Derby period, 1 770-1784.
Nos. 419 and 429 were probably made at Derby, the latter perhaps
somewhat later than 1784 (compare p. 77).

413. Group. Three children, representing Minerva crowning Constancy and Hercules
killing the Hydra. (Plate 44.)

The figures, which are from the same models as those composing the coloured group No. 412,

are grouped round a tree on the top of a rocky mound covered with flowering plants!

Beside the figure of Constancy is a broken column. H. i2| in.
In the catalogue of the first sale of the united Chelsea and Derby factories, .April i8th, 1771,

lot 47 is : " A group of three figures. Minerva crowning Constancy with laurel, and

Hercules kiling (sic) the Hydra, very curiously finish'd in biscuit, j/. 15s.''' See Nightingale,

p. 21."
Bought at the Hague on October ist, 1873, see Journals, i., p. 229, " . . . . found in a

shop hitherto unknown to us, Dirksen, a splendid group in Derby biscuit of Cupid

killing the Hydra (a la Hercules), of the same model as the coloured' Derby china group

we already possess."

419. Plenty. Mark, " No. 163," incised. (Pl.\te 41.)

Standing figure in classical drapery, tiara and sandals, holding in her left hand a cornucopia
full of fruit and in her right a bunch of leaves. Square base. H. gf in.

429. Cupid as Sportsman-. Mark, 233 incised. (Plate 41.)

Cupid holds a dog in leash with his left hand and carries a gun under his right arm. He
wears a wide-brimmed hat and has a game-bag slung over his left shoulder. He stands
on a rocky mound with a tree-trunk by his side. H. 3f in.

§ 3- VASES AND ORNAMENTAL PIECES.
Nos. 435-442.

These pieces are variously decorated with overglaze enamel colours
and gilding.

435. Vase, painted in blue {bleu de roi) and gilt. The form is adapted from a

Sevres model known' as the " lose flacon a mouchoirs." Mark, " G8 " incised
(Plate 48.)

Hemispherical body, hung with festoons of white draperv in relief on a blue ground ; the
neck contracts upwards and is decorated with spira'l fluting coloured blue, and with
gilt festoons of foliage hanging from lions' masks in relief. Beaded rim, spreading foot
resting on an eight-sided plinth. H. 8f in., diam. 4f in.

Compare Troude, Clwix de Modeles, pi. 95.

436. P.MR OF Vases, painted in turquoise-blue and gilt. Mark, 20 incised. (Plate 48.)

Short expanding fluted neck, truncated oviform body with urn-shaped foot resting on a
square plinth, two scrolled loop handles rising above the rim. The upper part of the
foot is gadrooned. The body is decorated with moulded vertical bands, alternately white
and blue ; enclosed by the blue bands, which are concave, are garlands of laurel hanging
from the shoulder. Each, H. 9 in., diam. 3I in.

72 CHELSEA-DERBV.

437. \'ase, painted in turquoise-blue. (Plate 45.)

Ovoid body, decorated round the shoulder on either side with a grotesque mask flanked by
lions above a band of conventional ornament below which are rosettes and festoons of
foliage. The upper part and the short expanding neck are spirally fluted. The vase has
two loop handles, each in the form of a dolphin issuing from a lion's leg which rests on a
sheep's head, and a high foot decorated with acanthus-foliage, supported on a square plinth.
The decoration is in relief, reserved in white on a blue ground. H. 15I in., W. g in.

Tlie vase has become misshapen in the kiln and appears to be a trial piece, the decoration
of which has never been completed.

242. Pair of Vases with Covers, decorated with applied flowers and gilding and
painted in bluish-green and crimson. (Plate 45.)

I'ear-shaped body, expanding neck and spreading foot, decorated with white hawthorn-blossom
applied on a greenish-blue ground ; two scrolled loop handles. The domed covers are sur-
mounted by a rose painted crimson with white stem and leaves. Kach, H. 8g in., W. 6j in.

A similar vase in the British Museum bears the Chelsea-Derby mark.

258. Bottle and Cover, painted in colours and gilt, in the form of an ac.e of clubs,
with the Queen and Knave of clubs depicted in a medallion on either side.

(Plate 45T)

The ace is coloured turquoise-blue and is surmounted by two scrolled handles, rising from
gilt satyr masks, and a tubular neck ; it is supported on a high circular foot with claret-
coloured ground, decorated with rams' heads in relief, surmounting consoles, the plinths
of which project from the foot. H. yf in., W. 4J in.

Probably similar to the " Pair of card toilet-bottles (spade) enamelled with fine pea-green
and crimson, and richly finished with gold, 3/. is.," occurring in the Sale Catalogue of
the united Chelsea and Derby factories for February 9th and loth, 1773 ; see Nightingale, p. 38.

438. Punch-bowl, painted in colours and gilt. Inside are the arms of the Coopers'

Companv of London, with crest, supporters and the motto " LIVE AS
BRETHREN " ; outside are depicted coopers at work on the banks of a
river with shipping. On the bottom are the initials " EED " in monogram
and the date 1779. Mark, an anchor in gold. (Plate 46.)

Round the rim outside are two interlaced foliated stems in gold on a broad bleu de roi
band ; inside is a narrow conventional border, from which hang festoons of foliage in
purple. H. 4J in., diam. lo-J in.
Church, fig. 12. This piece, which was doubtless made at Chelsea, suggests that the earlier Chel-
sea manner was abandoned soon after the change of management in 1770. A search in the
records of the Coopers' Company has failed to throw light on the significance of the initials.

[439. Bowl, Chelsea porcelain, see p. 56.]

440. Basket, painted in colours with gilding. Mark, "D" intersected by an anchor,
in gold.

Oval, w^ith pierced openwork sides, scalloped edge, and a double twisted loop handle at
either end. .'\t the points of intersection and the attachments of the handles are applied
flowers. Inside are bouquets and sprays of flowers painted in natural colours. H. 3I in.,
L. 9I in., W. 7I in.

44L Toilet Set, consisting of a box and cover and two pomade-pots with covers,
painted in colours and gilt.

The box is oblong, with slightly domed cover, surmounted by a pair of doves with a quiver
full of arrows between them. The pomade-pots are cylindrical ; on the cover of eacli i>
a reclining figure of a boy, caressing a lamb crowned with a garland of flowers. The
box and the pomade-pots' are painted with sprays of flowers in green. Box, H. 3 in.,
I,, 3I in., W. 2| in.; pomade-pots, each, H. 2J in., diam. ij in.
Bought in London on August 30th, 1884; see Journals, ii., p. 433. In the sale catalogues
of the united Chelsea and Derby factories there is frequent mention of " dressing-boxes "
and " pomatum pots."

CHELSEA-DERBY.

442. Pair of Buckles, painted in blue and gilt.

Of arched oblong form, painted with a pattern of lozenges alternating with dots, in blue

between two bands of gilding. The mounts are of steel. Each. 2^ in. by 2f\ in.
Acquired in Paris on December 17th, 1876; see Journals, i., p. 502, "We have acquired a

lovely pair of shoe-buckles in white china with blue pattern and gold— unique — C. S.

thinks them Derby-Chelsea."

§ 4- PIECES FOR DOMESTIC USE.

Nos. 443-458.

All these pieces are decorated in enamel colours and gold, with
the exception of No. 365, which has no gilding.

443. Sl-g.\r-b.\si\ -vnd Cover. Mark, "D" intersected by an anchor, in gold.

Both pieces are reeded and painted with bouquets of flowers in natural colours. Round the
edges, which are scalloped, is a border of foliage on a wavy stem in gold on a bleu de roi
band. H. jf in., diam. 4I in.

444. P.\iR OF Mugs. Mark, "D" intersected by an anchor, in gold. (Pl.\te 45.)

Each has a globular body, wide reeded cylindrical neck, and loop handle. Round the shoulder
is a border of gilt conventional ornament on a scalloped blue band ; round the rim is
a plain blue band edged with gold. The remaining surface is painted with bouquets and
sprays of flowers in natural colours. Each, H. 3I in., diam. 3 in,

445. Dish .\nd Two Pi..\tes. Mark, " D " intersected by an anchor, in gold (No. 26).

(Pl.\te 49.)

The dish is heart-shaped, Ihe plates have a wavy edge. In the centre is a classical vase, of
different form on each piece, painted en gyisaille and festooned with roses in colours ;
beyond are detached flowers. The rims are decorated with gold discs laid over a scalloped
border of hleu de roi, and within this border with radial bands of husk-pattern in green
separated by lines of gilt dots. Dish, L lOfs in., W. S in. ; plates, each, diam. S}-J in.

446. Dish. Mark, " D " intersected by an anchor, in gold. (Pl.\te 45.)

Oval, with lobed rim and wavy edge. In the centre is a classical vase painted en grisaille,
festooned with roses in colours, in an oval compartment bordered by a blue line twined
about with a wreath of leaves in gold. Round the edge is a broad formal border in
blue de roi and gold from which are suspended festoons of laurel in colours. Trophies
en grisaille of weapons and musical instruments respectively, are introduced between the
festoons and the compartment in the middle. L. 9^ in., \V. 7 in.

447. P.\iR I'F Dishes. Mark, "D" intersected by an anchor, in gold.

Each square, with rounded corners and wavy edge. In the middle is a classical vase garlanded
with laurel, painted en grisaille. The rim is decorated with festoons of (lowers in natural
colours hung from gilt rosettes. The underside is also painted with sprigs of flower.s.
Each, W. 8a in.

448. I'.viR OF Dishes. (Pl.\te 45.)

Each oval, with wavy-edged rim pierced with formal devices in openwork. In the middle
are bouquets of flowers, a group of fruit, and insects, in natural colours. Each L oj in
W. 7A in. ' ^* "

74 CMKLSKA-DERBY.

449. Dish, decorated in imitation of Se\res porcelain.

Oval, witli sliapod rim docorated with a shaped border of roses within gilt circles and
festoons of liowers among rococo scrollwork. In the middle is a cupid among clouds,
with a quiver slung over his shoulder, brandishing a torch in his right hand, painted
en cama'icu in crimson. I,, iij in., \V. Sj in.

450. Te.\-pot and Cover, decorated in imitation of Chinese porcelain. Mark, "D"

intersected by an anchor, in gold.

Both pieces are moulded with wavy fluting in the hollows of which are fronds ; the surface
is also divided into wavy panels painted with conventional floral and scrolled ornament,
alternately red on white and white outlined in gold on dark blue. The spout has been
broken and repaired in silver. H. 6f in., diam. 5| in.

The same pattern, derived from Chinese porcelain, was used at Worcester ; compare Worcester
tea-pot, No. 588, and note thereon.

451. Th.\-pot with Cover and Stand. (Plate 45.)

The pot and cover are fluted and painted with garlands of flowers in .black outline
washed over with green, set obliquely with pink bands between them. Hexagonal stand,
with sloping fluted rim similarly decorated. Tea-pot, H. 6 in., diam. 5 in. ; stand,
W. 5f in.

Of the same pattern as the cup and saucer, No. 458.

364. Jug.

Ovoid body, spreading foot, slightly expanding mouth with lip moulded in the form of tlie
head of a man wearing a cocked hat. Painted with bouquets and sprays of flowers.
H. gl in., diam. 5J- in.

Probably made at Chelsea.

365. Jug.

Ovoid body, spreading foot, slightly expanding mouth with lip moulded in the form of a

bearded mask. Painted witli sprays of flowers. H. 7} in., diam. 4I in.
Probably made at Chelsea.

392. Two Tea-cups and Saucers. Mark, an anchor in gold. (Plate 45.)

Both cups and saucers are moulded in slight relief and painted with a garland of flowers in
colours and borders in blue and gold. The cups have no handle and are decorated inside
on the bottom with a rose. Cups, H. I5 in., diam. 2| in.; saucers, diam. 5 in.

452. Tea-cup and Saucer. Mark, "D" intersected by an anchor, in gold. 1784.

(Plate 45.)

In the centre of the saucer is a classical vase painted en grisaille, hung with green garlands,
in a medallion with a ground of gilt dots. On the rim of the saucer and on the outside
of the cup are three bouquets of flowers in natural colours on a ground of closely-set
radial or vertical gilt stripes. Inside the cup and on the lower side of the saucer are
sprigs of flowers. The cup has no handle. Cup, H. i\^ in., diam. 3 in. ; saucer,
diam. 5 in.

Part of a service made for the Duchess of Devonshire as a wedding present to Mary Babington,
who married the Rev. Thomas Gisburne, of Derby, in 1784; shown at the Derby Exhibition
in 1870. .\nother cup and saucer from this set is in the British Museum, sec Hobson
Catalogue, p. 63. Compare also note on No. 394 (below).

394. Two Tea-cups and Saucers. Mark, an anchor in gold. (Plate 45.)

Both cups and saucers are decorated with sprays of flowers en cama'ieu in pink on a ground
of wavy gold stripes. The cups have no handle. Cups, H. if in., i| in., diam. 3 in.,
3I in. respectively ; saucers, diam. 5 in., 5j in. respectively.

For the provenance and date of pieces with gold stripe decoration, see Archaeological Journal,
vol. xix., 1862, p. 347 ; Nightingale, p. xxxii.

CHELSEA-DERBV. 75

407. Coffee-cup. Marked with crossed swords under the glaze in blue in imitation
of Meissen porcelain (No. 25).

Painted with a bouquet and sprigs of flowers in natural colours. Gilt lines on the rim and
handle. H. 2\ in., diani. jj in.

453. Cup with Cover and Saucer, painted en camaieif in crimson and gilt, in imita-

tion of Sevres porcelain. Mark ou the saucer, " D " intersected by an anchor,
in gold. (Plate 48.)

On each side of the cup and in the middle of the saucer is a cupid amid clouds ; two of the
cupids have musical instruments. The cover is painted with a trophy of arms and a
basket of grapes, and has a knob in the form of a flower. Cup, H. 3J in., diam. 3 in. ;
saucer, diam. 4^ in.

454. Two Coffee-cups and Saucers. Mark, " D " intersected by an anchor, in gold.

Both cups and saucers are decorated with festoons of foliage in black and berries in gold
hanging from a gilt border, and with detached flowers in colours. Cups, H. 2\ in.,
diam. 2J in. ; saucers, diam. 5j in.

455. Coffee-cup and Saucer. Mark, "D" intersected bv an anchor, in gold.

(Pl.\te 45.)

The outside of the cup and the inside of the saucer are divided by bands of gilt foliage, the
former vertically, the latter radially, into narrow panels decorated alternately with a stem
of ivy twined about a rod in gold on a claret-coloured ground, and with a pendant
spray of flowers outlined in black washed over with green on a white ground. In the
centre of the saucer is also a flower in green. Both pieces have a wavy edge. Cup,
H. 2| in., diam. 2|- in.; saucer, diam. 5 in.

456. Two Chocolate-cups and Saucers. (Plate 45.)

Both cups and saucers are decorated with borders of scale-pattern in claret-colour and gold,
edged with gilt .'.crolls from which hang festoons of flowers in colours. The cups have
each two scrolled loop handles. Cups, H. 2| in., \V. 41 in.; saucers, diam. 5^ in.

Probably made at Chelsea.

457. Two Tea-cups and Saucers. Mark, "N" incised (No. 27). (Plate 45.)

Both cups and saucers are decorated with festoons of flowers suspended from the gilt edge.
The cups have no handle. Cups, H. 1? in., diam. 3^ in.; saucers, diam. 5 in.

458. Tea-cup and Saucer.

The outside of the cup and the inside of the rim of the saucer are fluted and decorated with
curved pendant garlands of flowers in black outline washed over with green, set obliquely
with pink bands between them. Inside the cup and in the middle of the saucer is a
gilt rosette. Both pieces have a wavy edge; the cup has no handle. Cup, H. ij in.,
diam. 3 in. ; saucer, diam. 4I in.

Of the same pattern as the tea-pot. No. 451.

IV.— DERBY,

THI'^ first undoubted reference to porcelain made at Derby is contained
in announcements in the Public Advertiser during 1756 of an
auction sale to be held in London " by order of the Proprietors of
the DERBY PORCELAIN Manufactory." In 1758 another advertisement
announces the enlargement of the facto'ry and the increase of the establish-
ment. The first proprietors appear to have been William Duesbury, who
had previously worked as an enameller on porcelain in London/ and John
Heath. In 1758 they probably bought up the works at Longton Hall,^
and in 1770 the Chelsea factory, which was carried on for fourteen years
in combination with that at Derby.^ In 1776 Duesbury, by that time sole
proprietor at Derby, purchased also the Bow factory and removed the
models and moulds to Derby.**

William Duesbury died in 1786 and was succeeded by a son of the
same name, who was" manager until his death in 1796 or 1797, having in
1795 taken into partnership the miniature painter Michael Kean. The
latter carried on the firm under the style of Duesbury and Kean until 1811,
when he sold it to Robert Bloor. Other changes in the management took
place in 1828 and 1S44, and in 1848 the factory was closed.

It is impossible to identify the productions of the earliest stages.
Those made during the amalgamation with Chelsea have already been
described and catalogued under the heading of Chelsea-Derby porcelain,"
except in the case of a few specimens*' which bear the mark of a crowned
" D " in blue, green, purple or gold over the glaze, known to have been in
use at Derby before 1782. About that date the mark was modified by
the insertion of crossed batons and six dots between the crown and the
" D" ; it was painted at first in blue, puce or crimson.^ From about 1810
onwards for some twenty years the same mark was used, but always
painted in red. After 1830 till the close of the establishment various
printed marks were in use, also in red. The crossed swords of Meissen
and the double L of Sevres in blue, the former chiefly on figures and
generally under the glaze, the latter in overglaze enamel, were also

1 Compare p. 35, nr.te on No. 174. - Compare p. 119. * Compare pp. 29, 65.
* Compare p. 4. ° P. 29. " Nos. 461, 465, 467, 472, 474.

7 Nos. 466, 476, &c.

IJERBV. 77

occasionally used in the later years of the factory. From the character of
the marks emploved the productions of the middle and later periods are
often known respectively as " Crown-Derby" and " Bloor-Derby " china.
The Derby porcelain of the last two decades of the i8th century
is characterised by a restrained and sober decoration in which flower-
painting in naturalistic style plays a leading part. The work of some of
the painters can be identified ; amongst them Edward Withers/ Zachariah
Boreraan,- and Askew^ are represented in the Schreiber Collection. The
wares made for domestic use display a great variety of good border
patterns in the quasi -classical taste of the period. The forms are
generally simple and graceful. When Bloor became manager the patterns
assumed a more showy character. Rich colours and gilding were used in
excess, whilst adaptations of the designs on Japanese Imari porcelain
came into favour. Figures in coloured porcelain and biscuit, the latter
remarkable for delicacy of modelling, continued to be made until the close
of the factory.

§ I. VASES.

Nos. 459, 460.

459. \'ase and Cover, painted eti grisaille in black and decorated with gilding. The

cover is fitted to the vase by means of a pierced ormoulu band. Mark, 36
incised. About 1790. (Plate 48.)

In the form of a goblet decorated round the top with a vine-wreath, moulded in relief and gilt,
and supported on a high foot rising from a square plinth. On either side, separated by
goats' head handles, from which hang festoons of foliage, are oval medallions painted
respectively with a river-god. and with a female figure reclining in a landscape threatened
by Cupid with an arrow. The cover has a cone-shaped knob surrounded by wavy (luting
within a gilt border. H. 10 in., diam. 4! in.

Chaffers, fig. 427.

460. Pair of V.\ses, partly gilded. Mark, "D" surmounted by a crown and crossed

batons with six dots in red. .A-bout 1820. (Pl.\te 48.)

Each in the form of a circular basket, left white, supported by three gilt owls standing on a
three-sided base, which has three feet in the form of gilt shells. Each, H. 4J in., diam.
3i in-

§ 2. PIECES FOR DOMESTIC USE.

Nos. 461-477.

All these are decorated in enamel colours and gold over the gla/.e,
with the exception of No. 473, on which the blue is applied before glazing.

461. PiNCH-BOWL. Mark, " D " under a crown, in overglaze blue. About 1780.

Painted with bcniquets and sprays of flowers in natural colours and decorated with borders in
bleu de roi with gilt designs consisting on the inside of grapes, vine-leaves and tendrils, and
on the outside of palmettes and scrolls. H. 4J in., diam. gl in.

1 No. 465. - No. 471. ^ No. 472.

78 DERBY.

462. Punch-bowl. Mark, "D" surmounted by a crown and crossed batons with six

dots, in red. About 1820.

Painted inside and outside with sprays of roses and with a wide border of quatrefoil-shapcd
compartments, in which also are roses reserved on a ground of green dots, H. 4^ in.,
diam. iij in.

463. Pair of Custard-cups and Covers. Mark, " D " surmounted by a crown and

crossed batons with six dots, in purple. About 1800. (Plate 48.)

Round the covers and the upper part of the cups is a band of cornflowers and foliage on a
continuous stem ; the lower part of the cup is decorated with sprigs of the same flowers.
Each, H. 3J in,, diam. 25- in.

Bought at I?otterdam on November ist, 1872, see Journals, i., p. 168, "Next to the Oppert,
" where, at a shop full of Oriental china (Van der Pluyne), we found some charming
" Crown Derby custard cups and covers for which we paid £2. They were sold to us as
" ' French Fiirstenberg ' ! " The pattern is known as the " French " or " Angouleme sprig
pattern," from its use in the factory of the due d'.'Vngouleme in the rue de Bondy, Paris.
Compare Worcester punch bowl. No. 538.

464. Pair of Triple Salt-cellars. Mark, " D " surmounted by a crown and dots, also

33, in red. About 1820.

Kach in the form of three oval baskets joined together, with a twisted handle surmounted by a
gilt ring rising in the middle. The baskets are painted with sprays of roses in quatrefoil
panels reserved on a ground of green dots. Each, H. 6 in., W. 4^ in.

465. Jug, painted with flowers, probably by Edward Withers. The spout is in the form

of the head, wearing a cocked hat, of Lord Rodney (b. 1719, d. 1792) ; below it,
within a medallion, is the date of his victory over the French admiral De Grasse
in the West Indies, "April the 12' 1782." Mark, "D" under a crown, in
purple (No. 30). Dated 1782. (Plate 48.)

Pear-shaped, with foliated loop handle. Below the medallion on the front are the initials " TB "
in gold ; on either side is a bouquet of flowers in natural colours. Round the rim is a wavy
stem of laurel with leaves and berries in gold on a blue band ; round the base is a wreath
of gilt leaves twined about a blue line. H. 7J in., diam. 5 in.

Several examples of jugs similar to this, made to commemorate Rodney's victory, are in existence ;
one of them made for a Derby club, is described by Haslem (Derby China Factory, p. 202) and
figured by Bemrose (Boio', Chelsea, and Derby Porcelain, pi, xviii). The painting of this piece
may be compared with that of a dish in the Museum (No. 3047 — 1901), which was identified
by Mr. William Bemrose, junr., as the work of Withers ; the form of spout appears to be
suggested by that of a Meissen coffee-pot (compare Festive Publication, fig. 97).

466. Jug. On the front are the letters " D.P.C." in cornflowers, the initials of Daniel

Parker Coke, of Trusley and Pinxton (b. 1745, d. 1825). Mark, " D" surmounted
by a crown and crossed batons with six dots, in purple (No. 29). About 1802.
(Plate 49.)

Globular body, wide reeded cylindrical neck with projecting lip, loop handle. Round the rim
and shoulder are borders of gilt conventional flowers and white jewelled dots on a bleu de
roi ground. The initials are surmounted by a wreath of cornflowers. H. 9I in., diam.
6| in.

Coke was elected .M.P. for Derby, on petition, in 1776. In 1780 he was returned for Nottingham
and sat for that borough till 1S12, having been re-elected in 1802. The form of the mark
indicates that this jug was probably made in commemoration of his third election. It was
a member of the same family, John Coke, who founded the Pinxton China Works in 1796.
See Coke, Coke of Trusley, pp. 34, 98.

DERBY. 79

467. Mug. Mark, " D " under a crown, in purple. About 1780.

Globular body, wide reeded cylindrical neck, loop handle. Round the shoulder is a border of
gilt rosettes on a scalloped bleu dc rui band ; round the rim is a plain band of the same colour
edged with gold. The remaining surface is painted with bouquets and sprays of flowers in
natural colours. H. 4 in., diam. 3^ in.

468. Mug. About 1790. (Pl.\te 48.)

Cylindrical, with loop handle. Round the top is a conventional wreath in red with a line of
gold above and green below ; from the green band hang festoons of roses in purple.
H. 4I in., diam. 35 in.

469. -Mug, with glass bottom. About 1780. (Pl.\te 48.)

Cylindrical, with two reeded bands and loop handle. Round the top is a continuous stem of
laurel with leaves and berries in gold on a bleu de mi band ; near the base is a wreath of
gilt leaves twined about a blue line. H. 4I in., diam. ^K in.

[470. Mug, Staffordshire porcelain, see p. 155.]

471. Two Plates, with landscapes painted by Zachariah Boreman (b. 1738, d. 1810),

who worked at the Derby factory from 1783 to 1794. In the middle are
landscapes described respectively on the back as "Thorp Cloud Derbyshire,"
and " The Derwent in the Peak, Derbyshire." Mark on each, " D " surmounted
by a crown and crossed batons with six dots, in overglaze blue ; also on the
first, 81 in purple over the blue crown, on the second, 182 in blue. About 1790.
(Pl.\te 49.)

The rim of each has a wavy edge and a Ixirder of gilt conventional ornament. Diam. g^ in.

For Boreman, see Haslem, p. 67.

472. Two Plates, painted by Askew, with figures en cama'icu in pink and grey.

Mark, "D" under a crown, in purple, .\bout 1780. (Plate 48.)

In the middle of each is a cupid among clouds, in pink, in one case in a reclining attitude
writing on a scroll, in the other, kneeling and looking through a telescope, with a quiver
and scroll beside him ; the figures are probably intended to symbolise History and
Astronomy. The rims are decorated with a band of foliated scrollwork in two shades
of pink and witli festoons of liusk-pattern in grey, and have a gilt wavy edge. Each,
diam. 8^ in.

These plates may be compared with one in the Museum (N'o. 3041^1901), formerly in the
.Museum of Practical Geology, ascribed to Askew. See also Haslem, p. 46.

473. 15hll-pull, painted in blue under the glaze and gilt. About 1800.

Pear-shaped, fluted at either end, with a concave band round tlic middle decorated with
gilt rosettes in medallions reserved on a blue ground. 1.. j[; in., diam. il in.

474. Tea-cup and Saucer. Mark, " D " under a crown, in overglaze blue (No. 32),

and " N " incised. About 1780.

Both pieces are decorated with a border of gilt rosettes on a scalloped blue band and with
sprays of flowers in natural colours. The cup has no handle. Cup, H. i J in., diam. 3 J in. ;
saucer, diam. 5J in.

475. Two Tea-cups. Mark, "IV surmounted by a crown and crossed batons witli

six dots, in crimson. About 1790.

Round the outside is a border of scrolls in red and gold interlaced by a wavy stem of foliage
in green. Below this and inside the cups are small sprigs of flowers in gold. No handle.
Kach, H. I4 in., dirmi, 3 in.

8o DERBY.

476. Two Coffee-cups and Saucers. Mark, " D " surmounted by a crown and crossed

batons with six dots, on one cup in crimson, on the other and on the saucers
in purple (No. 31). About 1790.

Both cups and saucers are fluted and have a wavy edge, and are decorated with gilt chain-
pattern on vertical bands of blue {bleu de roi) arched at the upper end and edged with
gilt dots. Inside the cups and in the middle of the saucers is a gilt floral spray. Other
marks, on one cup and one saucer, 12 in purple; on the other saucer, i-j in crimson and
" H " in green. Cups, H. 2J in., diam. 2^ in. ; saucers, diam. 5j in.

477. Two Tea-cups and Saucers and two Coffee-cups. Mark on each piece, " D "

surmounted by a crown and crossed batons with six dots, also " N" 86," in
crimson, and 5 in blue over the glaze. About 1800. (Plate 48.)

Inside the cups and in the middle of the saucers is a landscape with a river and buildings,
surrounded by a wreath of foliage in gold twined about a blue band. Round the
outside of the cups and the rim of the saucers is a similar wreath enclosed between
bands of gilt chain-pattern. The tea-cups have no handle. Other mark, 5 in blue.
Tea-cups, H. ij in., diam. 3j in. ; saucers, diam. 5j in. ; coffee-cups, H. 2| in., diam. 2| in.

v.— WORCESTER.

THE porcelain works at Worcester originated in 1751, as the result
of experiments carried out by Dr. John Wall, physician, and
William Davis, apothecary. The manufacture was financed by
a company of fifteen partners. Davis was appointed manager, and
remained in that position until he died in 1783. Dr. Wall was actively
concerned with the business till 1766, the date of his death. In 1783
the companv was dissolved, and the business was bought by their
London agent, Thomas Flight, for his two sons. About 1792 Martin
Barr became a partner in the firm, which was carried on with several
changes of partnership till 1840.

A second factory was established at Worcester in 1786 by Robert
Chamberlain and his son, who had left the original factory in 1783,
and was carried on by the Chamberlain family until 1840, in which
year the rival firms were amalgamated. The new partnership was
continued till 1847, when the earlier factory was abandoned; the
manufacture ^vas thenceforward continued on the premises of Messrs.
Chamberlain, at present occupied by the Worcester Royal Porcelain
Company.

The paste of Worcester porcelain of the i8th century is distinguislied
by the use of soapstone or steatite in its composition. After 1800 this
body was gradually superseded by another, similar to that of Staifordshire
porcelain, introduced by Martin Barr.

The styles of decoration adopted may be followed by the help of
certain dated pieces. A tureen bearing the date 1751 ^ shows that during
the first decade small landscapes or sprays of flowers in the Chinese
style, simply painted in underglaze blue or in colours, were combined
with moulded panel ornament of rococo scrollwork in relief suggested
by the silversmiths' work of the period. About 1756 transfer-printing
from copper-plates over the glaze, in black and various shades of red
and puri)le, was introduced, probably by the well-known engraver Robert
Hancock (b. 1730, d. 1817), who is generally assumed to have worked
previously for the enamel factory at Battersea." Porcelain so decorated
in black was known at the time as "jet-enamelled"; sometimes the

' Hobson, Worcester Porcelain, pi. xvi., fig. 4. * See note on p. 6 above.

X 1!)259 F

82 WORCESTER.

transfer prints were subsequently painted over with washes of enamel
colours. 1 The designs for the engraved plates were largely borrowed
from prints after Gainsborough,- Watteau,^ Le Bas and other painters,
or from the fantastic compositions, chiefly in pseudo-Chinese style,* of
jean Pillement. Others were printed in the drawing-books of the period,
such as the " LadieS' Amusement," published by Robert Sayer, of which
a copy is preserved in the library of the Museum. The prints by
Hancock are frequently signed with his name ^ or initials,^ sometimes
accompanied by an anchor,^ the rebus of Richard and Josiah Holdship,
two of the proprietors of the factory, who until 1759 seem to have been
particularly concerned with the printing department. Two pieces in the
Schreiber Collection ^ are decorated with prints by James Ross, who
entered the works as assistant to Hancock in 1765 and died in 1821.
Hancock left the works in 1774. Printing under the glaze in cobalt-
blue was probably introduced before 1760; a mug^ in the Collection
decorated in this manner bears the date 1773.

Two jugs belonging to the Corporation of Worcester, dated 1757,
and moulded with overlapping leaves, indicate the advance towards a
more ambitious style of decoration. The influence of Meissen porcelain,
with its naturalistic Rower-painting in enamel colours, begins to make
itself felt. The engagement of decorators from the Chelsea factory about
1768 was the beginning of a period of great prosperity to which the
finest productions belong. Rich coloured grounds, such as the dark
underglaze powder-blue, i" the scale-pattern in the same colour, ^^ apple-
green,^- and turquoise-blue,^^ now make their appearance, v/ith polychrome
figure-subjects, flowers, exotic birds or insects in reserved compartments,
and sumptuously gilt scrollwork borders. The simple Oriental motives
of the earlier period are succeeded by complex panelled designs '^
suggested for the most part by Japanese Imari ware. This phase of
the manufacture is exemplified by the punch-bowl with the arms of
the Marquis of Ely, made before 1770 (No. 523), and a mug made in
that year (No. 573) in the Collection, and by a vase with a figure-subject
on a dark blue ground, dated 1769, in the Dyson Perrins Collection. ^^
The blue and white porcelain made in this period is represented by a
hexagonal flower-pot dated 1776 in the same coUection,^^ which is painted

1 Nos. 481, 541, 569, &c. 2 Nos. 541, 560. " No. 561. * Nos. 482, 609.

= Nos. 549, 627, 667. ^ No.s. 488, 505, 546, &c. '^ Nos. 488, 546, &c.

8 Nos. 545, 558. ^ No. 571. ^0 Nos. 485, 508, 523, 601, &c.

" Nos. 478, 537, 589, &c. 1- Nos. 527, 582. 1^ No. 509.

'■* Nos. 638, 663, &c. 1' Hobson, Worcester Porcelain, pi. Ixxxiv.

"' Hobson, pi. xviii., 3.

WORCESTER. 8^

with Chinese floral ornament in the same style as a pair of vases in
the Schreiber Collection (No. 35). The transition which began about
this time to the pseudo-classical manner of the Louis X\T. period is
reflected in a pair of cups in the Collection (No. 646) dated 1782.

The change of management in the following year was succeeded bv
the adoption of a new type of paste and a more formal style of decora-
tion. Early in the 19th century, at the original factory and at the
works of Messrs. Chamberlain alike, a reversion to a more elaborate
stvle ensued, which is seen in a skilful but excessive use of pictorial
enamel painting ; this phase is typified by a plate with a sporting
subject in the Collection (No. 516a). With the exception of this and
two other pieces,^ all the specimens in the Collection date from the
i8th century.

The three best-known Worcester marks, used before 17S3, are the
crescent, the letter " W,"- and an imitation of a Chinese seal-character
somewhat resembling the Union Jack, known as the " fretted square."^
The two last are always, the crescent generally, painted in blue under
the glaze,* the crescent being in exceptional cases painted over the glaze
in blue,^ black, ^ or red '' enamel or in gold.* The crescent is also some-
times printed in blue, either in outline or horizontally shaded.^ Other
marks which also occur during the early period are imitations of Chinese
characters,^" of the crossed swords of Meissen (accompanied by the
numerals 9 or gi),'^ and of the double L of Sevres,'- and various workmen's
marks, such as those resembling the monogram TF '^ and the sign for
a sharp in music.'* An impressed mark " T°," of rare occurrence on
Worcester porcelain, is reputed to be the signature of a modeller named
Tebo, who worked also at Bow and Bristol. ^^

After 1783 various names or initials were adopted corresponding with
the changes of partnership of the two firms, sometimes with addresses
of their London agents. The only later marks represented in the
Schreiber Collection are those of Messrs. Chamberlain,^^ and the faint
incised " B " '^ found on some of the productions of the older factory
for a few years after the accession to the firm about 1792 of Martin Barr.

' Nos. 492, 555. - No. 580. ' Nos. 635, 656, etc.

' The blue marks cited in the catalogue are all under the glaze unless otherwise

stated. For the blue crescent compare No. 529.

■■' Nos. 574, 58G, 644. « No. 631. ' Nos. 625, 641.

" No. 644. ' Nos. 520, 521. 1" Nos. 517, 614, &c. " No. 668.

1- No. 646. IS Nos. 35, 38, 52. >+ No. 35.

'^ No. 43. Compare pp. 5, 134, and Burlington Magazine, xxv., p. 108.

'" Nos. 516a, 675. '" No. 492.

F 3

WORCESTER.

§ I. VASES AND ORNAMENTAL PIECES.
Nos. 478-494.

These pieces are variously decorated witli painting in blue under
the glaze or in enamel colours over it, with or without gilding, or with
transfer prints in black or lilac, in some cases washed over with
colours.

478. Vase and Cover, painted in colours and giU. Mark, a fretted square in blue.

About 1770. (Plate 50.)

Hexagonal, the body expanding slightly upwards to the shoulder, which curves in towards
the short straight neck. Domed cover with wide rim and conical knob. On either
side of the body is a large shaped panel painted with long-tailed e.xotic birds among
fruit-trees and bushes; on the shoulder between the larger panels are two smaller ones
painted with butterflies. The cover is decorated with four similar panels containing
alternately butterflies and an exotic bird. The panels are enclosed by gilt rococo scroll-
work and reserved on a ground of dark blue scale-pattern, over which are added, in
gold, sprays of conventional flowers. H. i5 in., diam. 7| in.

Church, fig. 31 ; Dillon, Porcelain, igio, fig. 282.

43. Vase and Cover, with applied decoration in high relief, painted in colours
and gilt. Mark, "T"" impressed, said to be the mark of the modeller Tebo.
About 1770. (Plate 51.J

Hexagonal, the body expanding slightly upwards to the rounded shoulder, short straight
neck with moulded rim, high domed cover with wide rim and on the top a flower in
full relief. The body has two female masks wreathed with flowers in relief as handles ;
from these, and from blue ribbons tied in bows between them, hang festoons of applied
flowers coloured after nature, one on each of the six sides. Above, on the shoulder,
are six rococo panels bordered with scrollwork in relief and pierced with trelliswork.
Slightly below the middle of the body is a row of projecting shell-like ornaments, and
round the base at each angle are scrolls in relief. Garlands of applied flowers hang
down from the top of the cover, with perforated devices between them. In the intervals
of the relief ornament are bouquets and detached sprays of flowers, butterflies and other
insects painted in colours. H. 163- in., diam. 65- in.

The same work is found earlier on Bow and later on Bristol porcelain ; see pp. 5, 134, where
the identity of the modeller is discussed. As in the case of Xos. 41 and 711, it is probable
that the mark refers only to the modelling of the masks introduced in the decoration.

Church fig 46. An exactlv similar specimen is figured in Hobson, Worcester Porcelain,
pl.'xii.

479. Vase and Cover, painted in underglaze blue, in imitation of Chinese porcelain.

Mark, a crescent in blue. About 1770. (Plate 52.)

Oviform body, painted on either side with figures of a Chinese lady and boy, in one case
accompanied by a dog, in a panel bordered with scrollwork and diaper-pattern. Short
concave neck, domed cover painted with a diaper border and surmounted by a knob in
the form of a flower. H, 8} in., diam. 3| in.

Bought at Dijon on February 25th, 1870, sec Journals, i., p. 75, " In another shop, Cazet's,
40, Rue Chabot Charin, we found a Worcester vase with _ Chinese figures, blue and
white, not curious or uncommon, but too good to be left at the price, 3/4."

WORCESTER. 85

35. Pair of Vases with Covers, painted in underglaze blue in the Chinese style.
Mark, on one resembling "TF " in monogram (No. 35), on the other similar to
the sign for a sharp in music (No. 34), in blue ; in both cases the mark is
repeated on the cover. About 1775. (Plate 53.)

The vases are he.\agonal, witli sides expanding slighth- upwards to the rounded shoulder,
short straight neck and domed cover with high knob. The sides of both vases are
painted with two alternating designs of flowering plants, with a Chinese phoenix among
them in one. On the shoulders and covers are Chinese landscapes in quatrefoil panels
on a ground of lotus-flowers and foliage. The necks and the rims of the covers are
decorated with diaper-pattern. H. 15I in., 15J in. respectively, diam. each 6 in.

These vases and the three following w ere formerly ascribed to Bow. Conclusive evidence in
favour of their attribution to Worcester is given in detail by Hobson, Worcester Porcelain,
p. 44, where it is suggested that the " TF " mark, formerly interpreted as the monogram
of Thomas Frye of Bow, may be a " maimed version " of the Chinese character yii (jade).
The decoration is similar to that of a flower-pot figured in Hobson, 0/). cit., pi. xviii. 3;
see also p. 49, where it is suggested that the painting in each case is the work of the same
hand.

38. Vase and Cover, painted in underglaze blue. Mark, resembling "TF" in mono-

gram, also " P " or " d," in blue (No. 37). About 1760. (Pl.\te 52.)

Inverted pear-shaped body, concave neck, domed cover with knob in the form of a flower.
On one side of the body are small birds mobbing an owl which is perched on an old
tree in a landscape ; the remaining surface and the cover are painted with birds flying.
H. 8 in., diam. 4I in.
For the mark, compare note on No. 35 ; compare also note on No. 39.

39. Vase .vnd Cover, painted in colours. About 1760. (Plate 52.)

Inverted pear-shaped body, concave neck, domed cover with knob in the form of a flower.

On one side of the body is a design, similar to that on No. 38, of small birds mobbing

an owl which is perched on an old tree; on the other are a bouquet and sprays of flowers.

The neck and cover are also painted with sprays of flowers. H. 8 in., diam. 4^ in.
The design appears to be inspired by an engraving by J. June, published in The Ladies'

Amusement (pi. 155). Compare also note on No. 35.

40. Vase and Cover, painted in colours. About 1760. (Plate 52.)

Elongated ovoid body, concave neck, domed cover with knob in the form of a flower. The
body is painted with exotic birds perched on a tree in a landscape and others flying ;
on the cover are sprays of flowxrs. H. 8} in., diam. 3I in.

This vase has been erroneously ascribed to Bow. See Mew, Old Bow China, pi. i. ; also note
on No. 35.

480. Vase and Cover, painted in colours and gilt, in pseudo-Japanese style. .'\.bout

1770. (Plate 55.)

Hexagonal, the body expanding slightly upwards to the convex shoulder, short straight neck,
domed cover with knob in the form of a flower. The body is painted with chrysanthemums
and other (lowers on scrolled stems, long-tailed birds, and insects, in red' blue, green,
turquoise-blue and gold. The shoulder and cover are decorated with an irregular' border
of turquoise-blue, edged with gilt scrolls. The cover is also painted with small floral
sprays. H. n in., diam. 5^ in.
Gibb and Rackham, pi. 27.

481. Vase and Cover, decorated with prints in lilac painted over in colours; slight

touches of gilding also occur. About 1770.

Hexagonal, the body expanding slightly upwards to the rounded shoulder which has
collapsed slightly in the firmg ; short straight neck, domed cover with wide rim aiid
conical knob. On the body are two large and two smaller shaped panels outlined
in black, reserved in white on a canary yellow ground. The panels contain varit)us

86 WORCESTER.

purple prijits painted over in colours, representing classical ruins ar fountains in
landscapes with figures of ecclesiastics or peasants. On the shoulder are four sprays
of flowers painted in colours on the yellow ground in the intervals between the panels.
On the cover are similar prints in small panels, also reserved on a yellow ground. The
neck and the rim of the cover are decorated with prtinus blossoms in gold on a ground
of Chinese diaper in red. H. 12^ in., diam. 6| in.
Church, fig. 30.

482. Bottle, decorated with prints in black, painted over in colours. About 1765.

(Plate 63.)

Hexagonal, with bulbous body, spreading base, and long narrow neck. On either side of the
body are different grotesque compositions of Chinese figures, scrollwork and buildings ;
two of the figures, one of them a boy with a bow astride a rococo branch, are taken
from a design by Jean Pillement, which appears on No. 609. The design on one side
is repeated on the neck immediately below the mouth. H. 4I in., diam. 2| in.

Compare note on No. 6o<-).

483. Bottle, painted in colours in pseudo-Chinese style. About 1765. (Plate 63.)

Hexagonal with bulbous body, spreading base, and long narrow neck. On one side of the
body are two performing Chinese acrobats, on the other is a small landscape with
buildings. Below the neck is a formal border in red. H. 4I in., diam. 2| in.

Bought at Amsterdam on August 17th, 1869, see Jourimh, i., p. 33, " .'Vt Ganz's ....
small Worcester vase with acrobat, 5s."

484. ^'ASE, painted in colours and gilt. About 1765. (Plate 62 )

Inverted pear-shaped body, concave neck. Painted with Chinese landscapes in crimson, in
two large and four smaller quatrefoil panels which are reversed in white on a canary
yellow ground on which are scattered sprays of chrysanthemums and other flowers in
colours. Round the neck is a border of close red foliage and flowers. H. 6| in.,
diam. 4I in.

The landscapes in this and similar pieces (Nos. 540, 576, 585) appear to be inspired by two
engravings published in The Ladies' Amusement (pi. 172, 177J.

485. Pair of Vases, painted in colours and gilt. Mark, " W" in blue. About 1770.

(Plate 64.)

Ovoid body, short flaring neck. On either side of the body is a bouquet of flowers in natural
colours in a heart-shaped panel surrounded by a border of gilt rococo scrollwork and
leafy sprays and reserved in white on a powdered blue ground ; within the lip a formal
border of gilding. Each, H. 6 in., diam. 3I in.

486. Vase, painted in colours and gilt in the Chinese style. About 1765. (Plate 55.)

Beaker-shaped, with convex swelling in the middle. On either side are standing figures of
Chinese ladies in colours, one holding a vase on a tray, the other a wand, in a shaped
panel bordered with foliated scrollwork in red and black, in reserve on a ground of gilt
scrolls. H. jj in., diam 3J- in.

487. Vase, printed in black from a plate by Robert Hancock, with a milking scene,

after an engraving bv Luke Sullivan, published in 1759, of ".\ view of
Woobourn in Surry, the seat of Philip Southcote, Esq"^" of which a print
accompanies the Collection, No. 1822. About 1760. (Pl.a.te 56.^

Beaker-shaped. The print of the milking-scene shows a youth leaning against a tree talking

to a girl who is milking a cow ; two other cows are in the background. Below is a

smaller print of a woman beside a shed with a cow and calf. On the reverse side of

the vase are sprays of flowers. H. 6 in., diam. 3I in.
Presented to Ladv Charlotte Schreiber by Mr. Ivor Guest, afterwards Lord Wimborne, on

September nth, i86q, see Joimials, i'., p. 36. For the printed decoration, sa- Hobson.

Worcester Porcelain, p. 73.

WORCESTER. 87

488. V.\SE, printed in black, from a plate by Robert Hancock, with a full-length

portrait of the " Kimg of Prussia" (Frederick the Great, b. 1712, d. 1786), after
a painting bv Antoine Pesne, at one time in the collection of the Princess
Dowager of Wales, of which an engraving by Richard Houston accompanies
the Collection (No. 1886). Below is a military trophy with three flags bearing
the names of Frederick's victories, " Reisbevg, Prague, Collin ; Welham, Ross-
bach, Breslau ; Nenmark, Lissa, Breslau." Both prints are signed "R H
Worcester," in the case of the second accompanied by an anchor, the mark of
Richard Holdship. Dated 1757. (Plate 56.)

Elongated ovoid body, concave neck. Above the figure of Frederick are two cupids holding
a laurel-wreath and a palm branch ; a battle is represented in the background. On the
reverse is a figure of Fame blowing two trumpets. H. lo in., diam. 5-J in.

A jug with similar prints is described by Thomas Carlyle (History of Frederick II. oj I'russia,
called Frederick the Great, vii., book viii., ch. 10) ; " Reisberg," " Welham " and " Neu-
mark" are there explained as referring to the engagements at Reichenberg, Welmina
and Neumarkt. The same print occurs on No. 505, and on an enamel plaque in the
Collection (\'o. 1407), presumed to have been made at Battersea.

489. \'.vsi;, printed in black. On one side is a landscape copied from an engraving

by Francis Vivares, published in 1752, after a painting dated 1701 by Pierre
Antoine Patel. About 1760. (Plate 57.)

Ovoid body, concave neck. The print after Vivares depicts a view of a monumental fountain
and ruined buildings, with two figures crossing a bridge in the foreground, and the sea
in the distance. On the reverse side of the body is printed a view of ruined classical
colonnades. On the neck and in the interspaces on the body are Hying birds and
insects. H. 6| in., diam, 4j in.

490. Water-bottle for a washstand, painted in underglaze blue. .Mark, a crescent

in blue. About 1765.

Bulbous body, with long narrow neck and conve.x swelling below the mouth. On one"side
is a Chinese river-scene with figures, a bridge and a boat, on the other is a Chinese boy
holding a bird, near a building beside a pine-tree, with two birds Hying above ; round
the top of the neck is a border of panelled floral and diaper ornament. H. 10^ in.,
diam. jj in.

[491. Water-bottle, Bow porcelain, see [>. 24.]

492. I"lo\ver-pot, printed in black from plates by Robert Hancock, on one side
with a bust of Queen Charlotte (b. 1744, d. 1818J, and on the other with a
group of ruins. The bust is after a portrait drawn and engraved by fames
McArdell, published in 1762, shortly after the marriage of the Queen to King
George III. Mark, "2" and "B" (No. 48) incised. .About 1809.

Inverted truncated cone-shaped, with two adherent ring-handles. Below the portrait is tlu'
name "Q. CHARLOTTE." H. 4? in., diam. 4| in.

This piece was probably made at the time of the Jubilee of King George III. in 1809. A
similar piece with the same mark, and a portrait of the king, after a print also engraved
at the time of his marriage, is figured by Hobson, Wurcestcr Porcelain, pi. liii, fig. 7.
The incised " B " is probably the initial of Martin Barr, who joined the management
of the factory in 1792; the statement of Binns (Century nf Potting, p. 215) that this
mark was used from 1793 to 1803 appears to be controverted by the occurrence of the
mark on this piece.

88 WORCESTKR.

52. Basket, painted in undcrglaze blue in tlie Chinese style. Mark resembling

" TF " in monogram, in blue. About 1760. (Plate 61.)

Oval with shaped rim, sides of open trellisvvork with leaves in relief on the outside, and
spreading foot, also moulded with foliage. Inside, on the bottom, is painted a Chinese
landscape, with buildings and boats on a lake ; the sides are painted with sprays of (lowers
and insects, and with a floral border round the rim. A band of similar Moral ornament is
painted round the outside above the foot. H. j! in., L. i j„ in., W. 13 in.

Formerly ascribed to Bow ; see note on No. 35.

53. Pair of Flower-holders, moulded in relief and painted in underglaze blue.

Mark, somewhat resembling a dagger in blue (No. 36). About 1755. (Plate 61.)

In the form of a cornucopia, flat at the back and moulded in front with a landscape in which
are cattle and buildings ; at the lower end are floral sprays moulded in relief or painted in
blue, and round the top is a border of foliated scrolls in relief above a band of floral and
diaper ornament in blue. H. SJ in., 8| in., W. 6J in., 6J in. respectively.

A pair of Staffordshire salt-glazed flower-holders in the Schreiber Collection (No. -873) are from
a similar mould. For the mark, see Hobson, Worcester Porcelain, p. 44.

493, BoNBONNiERE, painted in colours and gilt, with hinged brass mount. Inside

the lid are the arms of Downes. About 1770.

Circular, with concave sides and slightly convex lid. On the top and sides and underneath
the bottom are bouquets or garlands of flowers in natural colours, in shaped panels
bordered with gilt rococo scrollwork and reserved in white on a green ground painted to
imitate shagreen. The shield inside the lid— argent three pallets wavy gules— is enclosed
by rococo scrolls and garlands of flowers painted en camaicu in crimson and purple ; it
is surmounted by the crest, a wolf's head erased. H. ii'i, in., diam. 2\ in.

494. PiPE-BOWL, moulded in relief and painted in colours, with mounts, chain and

hinged perforated lid of brass. About 1770.

The upper part of the bowl is of slightly bulbous form, and is painted on either side with a
bouquet in natural colours. The lower part is moulded in the form of a coiled fish, from
the open mouth of which issues the base of the stem. The head, fins and tail are picked
out in colours. H. 4 in., W. 2| in.

Church, fig. 35.

§ 2. PIECES FOR DOMESTIC USE.

Nos. 495-675.

Variously decorated with moulding in relief, gilding, painting in
blue under or over the glaze, or in other enamel colours, or transfer
prints in black, red, lilac or purple over the glaze, with or without
washes of enamel colour, or in blue under the glaze.

495. Hand Candlestick, painted in colours and gilt. x-\bout 1770.

Circular tray bordered with gilt scrolls in relief, within which are sprays of flowers in colours
The socket is moulded with foliated ornament, edged with green. Under the scrolled loop
handle is a ma^k in relief. H 2I in., diam. 57 in.

WORCESTER. 8g

496. Sauce-boat, moulded in relief and painted in underglaze blue. Mark, a crescent
in blue. About 1770.

Bowed sides moulded with bunches of Howers, wavy rim, projecting lip, scrolled loop handle.
Outside, under the lip, and inside are conventional floral sprays in blue. The inside is also
painted with a border of Chinese diaper-pattern. H. 3J in., L. 6J in.

0[ the same model as a sauce-boat of Bristol porcelain (N'o. 744), and two of Staffordshire salt-
glazed stoneware (.\'os. 891, 899) in the Schreiber Collection.

[497. Pair of S.\uce-boats, Lowestoft porcelain, .vte p. 159.]

88. Sauce-bo.\t, moulded in low relief and printed in black. About 1755. (Plate 61.)

Wavy rim, projecting lip, scrolled loop handle. On either side are rococo scrolls in relief
forming panels which are printed with a squirrel and pheasant respectively in oval frames
surrounded by scrollwork and flowers. On the front is a rose, and inside on the bottom is a
milking scene. H. 3I in., I,. 7| in.

This and the following piece belong to a class formerly attributed to Bow, but shown to be of
Worce,ster origin by the evidence cited in Hobson, Guide to English Pottery, p. iii, and
Worcestey Porcelain, p. 43.

89. S.AUCE-B0.\T, moulded in low relief, printed in black, and painted in colours.

About 1755. (Plate 61.)

Wavy rim, projecting lip, scrolled loop handle. On either side are rococo scrolls in relief picked
out in cjimson, forming panels which are printed with Chinese figure-subjects ; on the front
is printed a bird perched on a branch. The foot and inside of the rim are painted with
sprays of flowers. Inside on the bottom is printed a boy blowing bubbles among ruins.
H. jj- in., L. jl in.

See note on No. 88 above.

786. Pair of Sauce-boats, moulded in relief and printed in black. In four panels
on the outside of both are figure-subjects emblematical of the Four Seasons
and the Four Ages of Man respectively. .Vbout 1755.

Boat-shaped, moulded at the ends with broad fluting, on the sides with wreaths of foliage
enclosing the panels. On either side between the panels is a scrolled loop handle
rising above the rim, with a knob on the top of it. The two series of prints depict
respectively, the one a lady and a gardener with a flow^er-pot and watering-can, a man
and woman reaping corn, a man and woman drinking wine in a vineyard, and a man
skating pushing a lady in a sledge ; the other, a nurse and a child te'aching an infant
to walk, three boys playing at soldiers, a young couple with a baby, and an aged man
and woman amongst leafless trees. Inside on the bottom of each sauce-boat is the
sarne print of swans and other water-fowl amongst trees. H. 3; in., 3^ in., L. 7| in.,
7I in., W. 6J in., 6^ in. respectively.
These sauce-boats were formerly ascribed to Liverpool. They belong, however, to the same
class as No. 88; see note thereon above. A similar example is figured in Hobson, Wnrccster
Porcelain, p. 43.

498. Disii, printed and painted in black. About 1760.

Oblong octagonal. In the middle are two prints of views of classical ruins. In one of these
two figures beside a tomb are seen in the foreground. In the other are a man reclining and
a woman drawing water at a fountain, which is surmounted by a statue of a triton, while
in the background Trajan's Column and the ruins of the Temple of Castor in the Forum at
Rome figure conspicuously. The rim is decorated with eight smaller prints of ruins. Below-
each print is a border of scrolls painted in black. L. 14! in., W. 10} in.

The feathery scrollwork painted below the prints on this and the ne.xt two specimens may be
compared with that on a jug dated 1759 which is figured in Hoh^on, Worcester Porcelain
p. 82.

qo WORCESTER.

499. Dish, printed and painted in black. About 17O0.

Oblong octagonal. In the middle is a print of a view of classical ruins, with two figures beside
a tomb in the foreground ; on the rim are eight smaller prints of ruins. I!elow each print
is a border of scrolls painted in black. 1.. i2| in., W. 8^ in.

Compare note on No. 498.

499a. Dish, printed in black and painted in purple. About 1760. (Pl.\te 56.)

Oblong octagonal. In the middle is a print of a view of classical ruins with a man reclining
and a woman drawing water at a fountain, which is surmounted by a statue of a triton,
while in the background Trajan's Column and the ruins of the Temple of Castor at Rome
are conspicuous. On the rim are eight smaller landscapes of a similar character, lielow
each print is a border of scrolls painted in purple. L. lOj in., W. 8 in.
Compare note on No. 49S.

500. Dish, printed in black with the subject known as "The Tea Party," from a

jjlate engraved by Hancock, .^bout 1765.

Moulded in the form of two lettuce-leaves, laid partially one over the other. The ^rint depicts
a lady and gentleman in costume of the period seated at a table drinking tea, in a garden
with a statue in the distance. In the foreground are a dog and a cat and musical instru-
ments; a negro servant approaches from behind with a kettle. L. loj in., W. yf in.

.•\n engraving of "The Tea Party" appears on pi. 84 of The Artist's Vade Mecum, 3rd
edition, published in 1776, in the Library of the British Museum.

58. Dish, moulded in relief, painted in colours and printed in black. About 1760.
(Plate 59.)

Oval. The rim is moulded in high relief with a lizard, birds, fishes, insects and flowers among
rococo scrolls, painted in colours. In the middle are printed the same two views of classical
ruins as are printed on No. 498, and between them a river-scene, with a ship flying a British
ensign and other vessels. L. i8| in.. W. 13-I in.

Bought in London in 1884, see Journals, ii., p. 433. " I have bought several rather remarkable
" pieces to add to the collection ... a large Bow dish — transfer printed, and with a
" border in relief, &c. &c." .Another dish from the same mould is known which bears the
mark resembling TF in monogram ; sec note on No. 35.

[501. Dish, Bow porcelain, see p. 18.]

502. Pair of Dishes, painted in colours and gilt. About 1775. (Pl.\te 63.)

Heart-shaped with gilt edges. On the rim are six e.xotic birds, — two pairs perched on branches
with fruit and foliage, two placed singly flying. In the middle is a group of fruit. Each,
L. lOfV in., W. 7H in.

Burton, English Porcelain, fig. 10.

503. P-^iR OF Dessert-dishes, moulded in relief and painted in colours. About

1770. (Plate 63.)

In the form of an oval basket, with low openwork sides, imitating looped wickerwork, and
overlaid at either end with vine leaves in relief, the stem forming a loop handle : the leaves
and stems are painted in natural colours. In the middle and on the hoops of the basketwork
are bouquets or sprays of flowers in colours ; the groundwork of the rim between the hoops
is coloured canary-yellow. Each, L. 12 in., \V. 8| in.

Of the same model as a dish of Bristol porcelain (No. 749), and another of Staffordshire salt-
glazed stoneware (No. gig), in the Schreiber Collection.

504. Disii, moulded in relief and painted in colours. About 1765. (Plate 64.)

Oval with wavy rim, moulded with rococo scrolls and wickerwork pattern and pierced with four
panels of open trelliswork. In the middle is a panel surrounded by scrolls painted in
colours, with exotic birds among bushes. The scrolls are painted in crimson, and the
ground is coloured canary-yellow, L, io| in,, W. 8J in.

Bought in London on November 24th, 1884, see Jouyimls, ii., p. 458. •' . . . took a fancy to
a yellow ground open-work Worcester dish. . . ."

WORCESTER. 91

505. Dish, printed in black, with a figure of Fredericlv the Great, King of Prussia,

from the same plate, engraved by Hancock, as No. 488. The print is signed
" RH Worcester," and dated 1757.

Circular with six-lobed rim. Above the figure are two cupids holding a laurel-wrr.Ttli and a

palm branch. Diam. 6|in.
Compare No. 48S.

72. S.\ucER-SHAPED Plate, moulded in relief and printed in black, .\boiit 1760.
(Plate 56.)

Moulded with ornament resembling feathers radiating from tlie central medallion, in whiili
is printed a landscape with castles and ruins. Round the medallion, over the moulded
ornament, is printed a border of rococo scrollwork and trees. Diam. 7 in.

The print in the middle is a portion of that which occurs again on a cup in the Collection
(.\o. 125).

506. Two Soup-plates, painted in colours and gilt. About 1775. (Plate 60.)

In the middle is a bunch of llowers and fruit in natural colours. The rim has a gilt wavy
edge, and is decorated with an irregular border of scale pattern in crimson, edged with
gilt scrolls from which depend sprays of flowers in colours. Each, diam. 8|- in.

These plates are painted by the same hand as two others in the Collection (No. 509). The work
of this decorator is discussed in Hobson, Worcester Porcelain, p. 91.

Burton, English Porcelain, fig. 49, Porcelain, fig. xlv.

507. Plate, painted in colours and gilt, in the Japanese style. Mark, a fretted square

in blue. About 1770.

In the middle is a floral spray in colours, surrounded by a circular band of underglaze blue on
which is a floral pattern reserved in white. From this band four narrow panels radiate to
the wavy edge, each decorated with gilt foliage on a bluish-black ground on which is a
medallion in reserve enclosing a flower in colours ; the fan-shaped compartments between
the panels contain alternately an exotic bird perched on a rock and a pair of floral
sprays. Except for the circular band in the middle, the design is painted over the glaze, in
red, yellow, turquoise-blue and lavender-blue enamel. Diam. SfV in.

75. Plate, moulded in relief and painted in colours. About 1760. (Plate 61.)

In the middle is a medallion painted with two figures in a landscape (the same subject as occurs
on Nos. 115 and 637). The rim is moulded in slight relief with radiating ribs interrupted
by panels, bordered by scrolls and foliage in relief, containing bouquets and sprays of
flowers painted in colours. Round the edge are also small floral sprays in colours. Diam.
7? ■"■
A saucer-mould with the same pattern as this dish, in the museum of the Roval Porcelain
Works at Worcester, is figured in Hobson, Worcester Porcelain, pi. xiv. i.

508. r^i.ATK, painted in colours and gilt. Mark, a crescent in blue, .'\bout 1770.

In the middle is a circular medallion reserved in white and bordered by gilt foliage on a powder-
blue ground, which extends over the rim. In the medallion is a bird perched among
flowering plants and rorkwork in the Japane.se style. The rim has a scalloped edge and a
border of gilt diaper-pattern and foliage. Diam. y^ in.

The pattern is the same as that of a service said to have been made for Sir Joshua Revnolds.
See Hobson, Worcester Porcelain, pi. xxxiv. and p. 61.

509. Two Plates, painted in colours and gilt. About 1775. (Plate 63.)

ICach is painted in the middle with a different bunch of fruit and flowers in natural colours.
The rim has a gilt wavy edge and is decorated with a broad irregular border of floral
sprays in gold on a turquoise-blue ground, edged inwards with gilt scrolls. In the
interspaces of the border are detached flowers in colours. Each, diam. 9 in.

Painted by the same hand as No. 506 ; see note thereon.

92 WORCESTER.

510. Platk, painted in colours an 1 gilt, in pseudo-Oriental style, .\bout 1770.

In the middle are two iung-tailed exotic birds among flowering plants. The rim has a wavy
edge and is painted with a border of close red foliage and Chinese trellis-diaper in
alternate compartments separated by gilt flowers ; within this border are small sprays of
flowers and foliage. The painting is in red, green, yellow and blue enamel with small
touches of purple. Diam. 7IJ in.

Burton, F.nglish Porcelain, pi. iv.

511. Pl.\te, painted in colours and gilt. About 1775. (Plate 6o.j

In the middle is an exotic bird among bushes. The rim is painted with sprays of flowers in
natural colours and has a gilt wavy edge. Diam. 8| in.

512. Two Plates, painted in colours and gilt. About 1775. (Plate 63.)

In the middle are scattered bouquets and detached flowers in natural colours. The rim is
decorated with panels alternately coloured turquoise-blue and painted with trellis-pattern
in red and gold. It has a gilt wavy edge. Each, diam. 8J in.

Burton, English Porcelain, flg. 50, Porcelain, flg. xlv.

513. Two Plates, decorated with prints in lilac painted over in red, green and

yellow enamel and with gilding. About 1770.

In the middle of each is a different landscape with ruins and trees, in one case \yith, in the
other without, figures. The rim has a gilt scalloped edge. Each, diam. 7J in.

[514, 515. Plates, Bow porcelain, see p. ig.]

516. Plate, painted in colours and gilt. About 1770.

The middle is painted with detached sprigs of flowers in natural colours. The rim has a gilt
scalloped edge, and is divided into panels alternately coloured with bleu de rui enamel and
decorated with gilt floral sprays. Diam. 6I in.

516a. Plate, painted in colours and gilt. The subject of the painting, "Spaniel and
Wounded Pheasant," is written in red on the back above the mark, " Chamberlains
Worcester & 62 Piccadilly London" {No. ^g), also in red. 1814-1816. (Plate 68.)
The subject, a spaniel appearing from under a bush in pursuit of a pheasant in a wooded land-
scape, is painted in an eight-sided panel with broad gilt border, on a pale salmon-pink
ground veined with gilding in imitation of marble. The rim is encircled by a formal gilt
border. Diam. gV in.
The panel is probably the work of Humphrey Chamberlain, who died in 1824 ; another plate
from the same service is in the British Museum {see Hobson, Worcester Porcelain, pi. cvi, 5,
p. iji). The mark was used from 1814 to 1816, when the London warehouse for .Messrs.
Chamberlains' works was in Piccadilly.

517. Pair of S.\ucer-shaped Plates, painted in colours and gilt in imitation of

Chinese porcelain. Mark, four simulated Chinese characters within a double
circle, in blue (No. 47). About 1770. (Plate 55.)

The decoration is identical with that of the saucer, No. 655, except that the half-chrysanthe-
mums and blue discs are here four times repeated. Each, diam. 7i in.

See note on No. 655. Other pieces of the same service are Nos. 614, 619 and 632.

518. Two Plates, "pencilled" in black in the manner of Chinese porcelain decorated

with copies of European engravings, .\bout 1755. (Plate 61.)

The design is made up on each plate of a Chinaman riding a buffalo, a pine-tree, rocks,

buildings, and a bird flying. Each, diam. 6| in.
A similar plate in the Royal Porcelain Works Museum, Worcester, is figured by Hobs(m,
Worcester Porcelain, pi. liv., fig. i ; see also p. 83 of the same work.

WORCESTER. 93

519. Dessert-basket, with applied decoration, painted in colours and gilt. About 1770.

Oval, with sides pierced in imitation of wickerwork and flowers, coloured pink, applied at the
intersections. At either end is a loop handle rising above the rim in the form of a twig
from which spring flowers and leaves in high relief coloured after nature. Inside, on the
bottom, IS a group of fruit painted in colours. H. 4A in., L. loj- in., W. 8i in.

520. B.\SKET .\ND St.\nd, with applied decoration, printed and painted in underglaze

blue. Mark, on the basket, a shaded crescent, printed in blue. About i76q
(Pl.\te 65.) ' ^'

The basket is of shaped oval form with wavy rim, the sides being pierced in imitation of wicker-
work, with flowers applied at the intersections. .A.t either end is a handle rising above
the nm m the form of a vine-stem with leaves and bunches of grapes in relief. Inside, on
the bottom, and in the middle of the stand, is a group of conventional fruit printed in
blue. Both pieces are painted round the inside with a border of diaper and floral orna-
ment m the Chinese style. The stand has a shell handle at either end and a moulded
edge. Basket, H. 34 in., L. 9 in., W. 7J in. ; stand, L. io| in., W. 8i in.

521. B.\SKET, with applied decoration, printed and painted in underglaze blue. Mark,

a shaded crescent printed in blue. .About 1765.

Of shaped oval form, with wavy edge, the sides pierced with openwork different in design
from that of No. 520. .^.t either end is a handle rising above the rim in the form of
a twig, from which spring flowers and leaves in high relief picked out in blue. Round
the inside is a border of diaper and floral ornament in the Chinese stvle, also painted,
and on the bottom a print of fruit from the same plate as that on No. 520, with the
addition of two butterflies and a detached spray of flowers. H. 4I in., L. 13 J in., W. loS in.

522. Pair of Baskets, printed in black and painted in crimson. About 1760.

Circular ; the sides are pierced in the form of intersecting circles with rosettes coloured
crimson, applied on the outside at the points of intersection. Similar rosettes and
round the bottom a border of scrolls, are also painted on the inside ; on the bottom
IS a print of a garden scene with a girl dancing to the music of bagpipes played bv
a seated man. Each, H. 2 in., diam. j| in. or r r- . .7

523. Bowl, painted in colours and gilt. In the middle are the arms of Nicholas

Loftus, second Earl of Ely of the first creation (b. 1738, succeeded to the title
1766, d. 1769). Mark, a fretted square in blue. About 1766. (Pl.ate 64.)

The sides are scalloped and decorated internally with gilt floral spravs on a dark powder-blue
ground edged with gilt scrollwork. The arms consist of a shield with supporters (two
eagles, w-ings inverted, argent, each charged on the breast with a trefoil slipped azure)
motto C' LOY .\L .-lU MORI , " sic), and earl's coronet surmounted by a helmet bearing the
crest (a boar s head erased and erect argent langued gulesj : garlands of flowers in colours
are trailed in the interspaces. The shield is charged quarterly, ist and 4th grand
quarters, quarterly, ist, sable a chevron engrailed ermine between three trefoils slipped
argent, for Loftus ; 2nd, azure, a clievrnn between three fleamps or, for Chetham •
3rd, or, a chevron gules between three bugle-horns sable stringed azure, for Crewkerne '
4th, gyronny of eiglit argent and sable, a saltire engrailed between four fleiirs-de-lvs the
stems converging towards the centre, all counterchanged, also for Loftus- -nd and 4th
grand quarters, quarterly, ist, vert a lion rampant argent, for Hume ; 2nd, argent three
piles engrailed gules, for Polworth ; 3rd, argent a cross engrailed azure, for Sinclair •
4th, argent three popinjays vert, beaked and legged gules, for Peddie, impaling quarterlv'
1st and 4th, gules three cinquefoils pierced ermine for Hamilton. 2nd and ?rd areent'
a lymphad sable, for Arran. H. 3I in., diam. 11 J in J 6 .

Nicholas Loftus was son of Nfcholas, the flrst Karl, by .Mary, daughter and heir of Sir Gustavus
Hume, Bart., of Castle Hume, co. Fermanagh. The mother of the latter w^as Sidney
daughter and coheir of James Hamilton, of .Manor Hamilton, co. l.eitrim
Bought m London, November ist, 1884, sec Journals, ii, p. 453, " Button brought me a wonder-
tuUy hne Worcester deep dish or bowl— with the arms of the Elys upon it it is a

noble piece, and though I had to pay dear for it (£20) I am very glad to' liave it to
add to the collection ; also illustration facing p. 452.

g^ WORCESTER.

524. Pair of Shallow Bowls, moulded in relief and painted in colours. About

1770.

The bowls have a wavy rim and are moulded with a row of six scallop-shells surrounding
a rosette in the form of a striped tulip opened out and seen from above, withm a lobed
yellow border. The shells are represented alternately with the outside and the inside
showing, in the former case being coloured red with details in black after nature, in
the latter being tinted round the edge in crimson and painted in the middle with a
bouquet of flowers in colours. The interspaces between the shells are painted with scrolls
in black. Each, H. 2I in., diam. gj in.

525. Paii; of Dishes, moulded in relief and painted in colours. About 1770.

Circular with wavy rim. Painted with bouquets of flowers in natural colours, enclosed in a
circular medallion and in four shaped panels, which are reserved on a ground of wicker-
work pattern moulded in relief and coloured yellow. Round the nm is a border of
flowers in colours. Each, H. 2} in., diam. 9 in.

525. S\VEET.ME.\T-TRAY, painted in underglaze blue. About 1770.

In the form of three shells conjoined, with a mass of smaller shells in the middle surmounted
by a dolphin forming the handle. Each shell is painted with sprays of carnations^ and
other flowers and an insect and with a border of Chinese diaper-pattern. H. 5J in.,
W. 9 in.

527. Tray, of the form known as the " Blind Earl's pattern," painted in colours and

gilt. About 1770.

Oval with scalloped rim ; moulded with rose foliage and two rose-buds, the stalks of which
form loop handles at either end. The middle is painted with sprays of flow_ers ; the
rim has an apple-green border edged inwards with gilt scrolls. L. 5I m.. W. 45 in. u>

This relief pattern is popularly supposed to have been designed expressly for the Earl of
Coventrv who became blind in 1779, see Binns, Century of Potting, p. 96 ; as shown by
Hobson," however (Worcester Porcelain, p. 47), though a service of the pattern may have
been ordered by the earl, it was in existence long before the date named and was used
at Bow and Chelsea as well as at Worcester.

528. Tray, of the "Blind Earl's pattern," painted in colours and gilt, .\bout 1770.

Similar in form and decoration to the last piece, from whicli it differs in being circular instead

of oval. W. 6J in.
See note on No. 527.

529 Pair of Trays, of the " Blind Earl's pattern," painted on underglaze blue.
Mark, a crescent in blue (No. 39). About 1770.

Of the same form as No. 528. The rose-buds and leaves are picked out in blue and insects
are painted in the intervals between them. Each, diam. 5I m. Set- note on No. 527.

530. Tray, moulded in relief and painted in blue. Mark, a crescent in blue. About
1770.

Moulded in the shape of a poplar-leaf, apparently from a cast of an actual leaf, and painted
with sprays of flowers. \V. 5} in.

[531. Pair of Tr.ays, Lowestoft porcelain, see p. 159.J

532. Dish, printed in black and gilt, .\bout 1770.

Moulded in the form of a leaf. In the middle is a view of a nilned monument with a man
about to bathe in a pool in the foreground. Near the edge, which is bordered with
a gilt line, are sprays of flowers. W. 8I in.

WORCESTER 95

533. Pair of Pickle-trays, printed in black. About 1765.

Both are moulded in the form of an ivy-leaf and printed inside with the same subject as the
cup and saucer, N'o. 670, under which the print is described. Each, W. 3' in.

534. Pair oi- Trays, painted in colours. About 1755. (Plate 61.)

Both are in the form of a conventional shell with wavy edge fringed with crimson, and are
painted inside with a bird flying, and another perched on a rock amid flowering plants
beside water. Each, H. 2^- in., W. 4^ in.

535. Pair oi- Custard-cups and Covers, decorated with a design in gold derived from

Japanese porcelain. About 1765.

The design consists of wavy lines forming the outline of the [Jetals of a (lower. The handle

of the covers is in the form of a rose with two leaves. Each, H. 3I in., diam. 2| in.
Compare Hobson, Worcestcy Porcelain, pi. xxxi., \o. ^.

536. Cup and Cover, decorated with gilding. About 1765.

The cup is semi-ovoid with high foot : round the top and round the cover, which is sur-
mounted by a handle in the form of a llower and leaves, is a row of lozenge-shaped
and circular perforations. H. 4]- in., diam. 2\ in.

537. PuKCH-BowL, painted in colours and gilt. Mark, a fretted square in bkie.

About 1770. (Plate 65. j

The outside is decorated with shaped panels outlined by gilt rococo scrolls and reserved in
white on a ground of dark blue scale-pattern. The two larger panels are painted with
a group of exotic birds among bushes in a landscape, while a similar group is painted
inside the bowl on the bottom. In the smaller panels are single birds perched on
branches, or sprays of flowers. Round the rim inside is a border of gilt conventional
ornament, below which are sprays of flowers. H. 4I in., diam. 11 in.

538. Pi'NXii-BOWL, painted in colours and gilt, .\bout 1780.

Decorated witli cornflowers and foliage, arranged in two wreaths round the inside, and out-
side in a wreath round the rim and in detached sprigs forming a diaper pattern over
the remaining surface. H. 5 in., diam. ii-J in.

The pattern is known as the " French " or " .^ngoulenie sprig pattern," sec note on Derbv
custard-cups. No. .^63.

539. PuNCH-BowL, printed in black and gilt. About 1770. (Plate 58.)

On the outside is a continuous landscape with a fox-hunt. Inside on the bottom is a print of
a huntsman dismounted blowing his horn and holding up the dead fox, with the hounds
pressing round him ; on tlie sides are four groups of hounds with various dead game.
The edge is encircled with a gilt band. H. 45 in., diam. loj in.

Two of the subjects in the interior occur on a smaller scale on copper-plates in the Royal
Worcester Porcelain Works Museum ; proofs from them accompany the Schreiber Collec-
tion (.\'o. 1837). In the catalogue of a sale by Mr. Christie of Worcester porcelain in
December, 1769, one of the lots is " A beautiful bowl with fox chase, jet enamelled, and
a large jug, il. 5s." ; see Nightingale, p. 96.

787. Jug, painted in colours and gilt. About 1760. (Plate 52.)

Ovoid body, cylindrical neck with projecting Up moulded with a mask, loop handle.

Round the top is a broad underglaze blue border veined with gold in imitation of marble;

the remaining surface is painted with bouquets and sprays of flowers in colours. H. gj in.,

diam. 5:; in.
See note on No. 787a.

WORCESTKR.

787a. Jug, painted in colours and gilt. .\b()ut 1760. (Platu 54.)

Ovoid body, cylindrical neck with projecting lip moulded with a mask, loop handle.
Round the top is a broad underglaze blue border veined with gold in imitation of marble ;
the remaining surface is painted with a hunting-scene depicting three mounted men and a
boy running with hounds in full cry after a hare. H. 9.^ in., diam. 5-fV in.

The hunting-scene is derived from the same source as that printed, probably at Liverpool,
on an earthenware tea-pot (No. 1108) in the Schreiber Collection. The painting appears
to be by the same hand as that on a bowl in the Dyson I'errins Collection, figured
in Hobson, Worcester Porcelain, pi. v., which is believed to have been painted by
Dr. Wall, one of the founders of the Worcester factory. This bowl has a blue and gold
marbled ground similar to the border on the neck of Kos. 787 and 787a. Other vases
with figure-subjects and marbling in the same style, in a private collection in Lancashire,
are traditionally ascribed to Worcester. The Schreiber jugs were formerly attributed to
Liverpool.

788. Jug, painted in colours and gilt. Mark, " L " and a short stroke, incised.
About 1760. (Plate 52.)

Pear-shaped with expanding neck, projecting lip, and scrolled loop handle. On one side is
a lady seated reading beneath a tree, with a gentleman plaving a flute standing before
her, and a dog lying on the ground at his feet ; on the other side is a lady, also sitting
beneath a tree, and standing by her kr.ee, a little boy who holds a crested bird perched
on his left hand. The figures are attired in dress of the middle of the iSlh century.
On the front are sprays of flowers and a butterfly in natural colours. Round the rim is
a conventional border of Chinese character in red and gold. H. yj in., diam. 4I in.

This piece has formerly been regarded as probably of Liverpool origin, whilst Solon
(English Porcelain, p. 80) ascribes it to Longton Hall. The style of the figure-painting,
however, is similar to that of Xos. 787, 787a, whilst the flower-painting approaches that
on a sauce-boat in the Museum (No. 3244-1833), marked with a circle crossed by an
arrow, which is attributed to Worcester ; the form is that of the printed jug No. 546.

Solon, pi. X.

540. Jug, moulded in relief, painted in colours and gilt. About 1765. (Plate 60.)

Ovoid body, cylindrical neck, with crowned bearded mask in relief under the lip, rococo-
scrolled handle. The body is moulded into leaf shaped panels, and painted with Chinese
landscapes in crimson enclosed within two large and three small quatrefoil panels,
reserved on a canary-yellow ground on which are sprays of chrysanthemums and other
flowers and foliage in colours and gold. The neck is painted with similar sprays on a
yellow ground between a band of gilt flowers and close red foliage and a border of
leaves in relief coloured green with red flowers between them. H. lOg in., diam. 7A in.

Compare note on \o, 484.

541. Jug, moulded in relief, decorated with prints in lilac, from plates by Hancock,

painted over in colours. About 1760. (Pl.\te 59.)

Of the same form as the las' piece, except for the border of relief ornament round the top
of the neck, which is of slightly different pattern. On the body are three shaped
panels outlined with crimson scrolls and reserved on a canary-yellow ground, which is
diversified with butterflies and other insects painted over it at intervals in colours. The
panels enclose respectively the following printed subjects ^ — fi) a milkmaid carrying a
pail on her head, and another being relieved of her p'lil by a man ; (2) a boy conversing
with a milkmaid, who stands with a yoke on her shoulders and pails beside her beneath
a tree, to the right of w'hich are two cows, and to the left a dog, copied from an
engraving by Francis Vivares published in 1760, after a painting by Thomas Gains-
borough entitled "The Rural Lovers," a print of which accompanies the Collection
(Xo. 1823) ; (3) the milking-scene already described under No. 487, taken from ■' A view
of Woobourn " engraved by Luke Sullivan and dated 1759. The neck is painted with

WORCESTER. 97

butterflies in colours on a yellow ground, between a band of flowers in natural colours
and a border consisting of leaf ornament in relief and roses in colours. H. iij in
diam. yf in. ''

Compare Hobson, Worcester Porcelain, p. 73. .^n engraving of the first subject was published
by Robert Sayer m 1766 {see note on No. 568J ; it appears on pi. 89 of The Artisfs Vade
Mecum.

97. Jug, painted in colours and gilt, in tiie style of Japanese Kakivemon ware.
About 1760. (Plate 55.)

Pear-shaped, with loop handle and projecting lip moulded with a bearded mask. On one
side are a prufui$-tTee and chrysanthemums, on the other .side are other flowering plants
Under the lip are two quails, and round the top is a border of close red foliage and
gilt flowers. H. 6| in., diam. j| in.
.\lew, pi. V.

542. ji'G, moulded in relief and painted in colours, .\bout 1765. (Plate 62.)

Ovoid body, cylindrical neck, loop handle with acanthus-leaf in relief. The body moulded
into leaf-shaped panels. On the front is a landscape with a goldfincli and other birds
perched on a tree in the foreground and buildings in the distance. A goose and other
birds flying are scattered over the remainder of the body. Round the neck is a border
of leaves in relief between two bands of scrollwork in purple. H. S^V in., diam. 5^ in.

For form and manner of painting, this piece may be compared with a jug, dated * 757,
belonging to the Corporation of Worcester, which is figured in Hobson, Worcester
Porcelain, pi. c, i.

543. Ilg, moulded in relief and painted in colours, .-^bout 1755. (Plate 6o.j

Pear-shaped body, contracted neck, e.xpanding mouth with projecting lip, scrolled loop handle,
three small scrolled feet springing frofn cabbage-leaves moulded in relief on the body!
The body and neck are divided by grooves into si.v lobes; on either side of the former
is a landscape in a shaped panel bordered by relief scrollwork coloured purple. Below
the lip is painted a rose, and on the neck are small insects. Round the rim is a border
of leafy scrolls in purple. H, 7I in., diam. 4„ in.

544. juG, moulded in relief, painted in colours and gilt. About 1770. (Plate 62.)

Of the same form as No. 541. On the front is a medallion with a formal border in turquoise-
blue edged with gilt scrolls enclosing a landscape with a river and buildings ; this medallion
is flanked by festoons of fruit in natural colours suspended from a border of formal
ornament in hleit de rui and gold which encircles the neck. Bands of similar ornament
surround the shoulder, passing over the festoons, and the base. Insects in colours are
scattered in the interspaces of the design. H. 8 in., diam. 5^ in.

545. jfG, inoulded in relief and printed in black from plates engraved by James Ross.

On the front of the body are the arms and emblems of the Freema.sons, with
figures of three masons, and scrolls with the mottoes "AMOR HONOR ET
JU.STITIA" and "SIT LUX ET LUX FUIT." About 1765. (Pl.vfe 58.)

Of the same form as No. 541. The print on the front is flanked by two groups of ruins, in each
of which is conspicuous a pyramid with, in one case, a terrestrial, in the other a celestial
globe fixed on its apex. The neck is decorated on either side with the same print of a
bouquet of flowers tied with a ribbon. The lip has been broken olf and replaced in silver.
H. 8 in., diam. jl in.
Proofs from plates in the possession of the Royal Worcester Porcelain Factory, of the subjects
with which the jug is decorated, accompany the Collection in two sizes, \os. 1S31, 1832; the
smaller engravings bear the signatures "J. Ifoss Vigoriiiensis scii(/).," and "J. Ross sculp.
Ross entered the employment of the factory as assistant to Hancock in 176^ : see Hobson.
Worcester Porcelain, p. 77.

gS WORCESTER.

546. Jug, printed in black with a bust portrait of King George II. (1727 — 1760) from

a plate bv l-Ianrock, adai)te(l from a portrait, painted in 1753, by Thomas
Worlidge, and with other subjects. Below one of these is the signature "R H
Worcester," with an anchor, the mark of Richard Holdship. About 1755.

Pear-shaped body, projecting lip, loop handle. The bust is placed on one side of the body ; on
tlie other is the same print of shipping as occurs on the dish, No. 58. On the front, below
the lip, is the signed print, inscribed on a scroll " Liberty " ; it represents a boy holding
a cap of Liberty on a staff, seated amidst military trophies, with a royal crown above the
whole. H. 7j in., diam. 5 in.

547. \vc,, ])rintcd in black from a plate by Hancock with a half-length portrait of

I''rederick the Great, I'ving of Prussia (b. 1712, d. 1786), after a painting by
Antoine Pesne, formerly in the collection of the Princess Dowager of Wales,
of which an engraving by Richard Houston accompanies the collection
(No. 1886). About 1760.

Bulbous body, with loop handle, and projecting lip moulded in the form of a satyr's mask.
Above the portrait, which occupies one side of the jug, is a cupid with a laurel wreath ;
below it is the title " KING OF PRUSSL-\." On the reverse side, and below the lip
respectively are the figure of I'ame blowing two trumpets, and the trophy of arms and
inscribed flags, which occur on the vase No. 488 ; below the trophy is the signature
" R H Worcester." H. 7 in., diam. 4I in.

See note on No. 488.

548. Mug, printed in black from the same plates as No. 547. Dated 1757.

Inverted bell-shaped, with loop handle. The prints occupy the same relative positions, and
bear the same title and signature as those on No. 547. H. 5^ in., diam. 4J in.

549. Mug, printed in black from a plate by Hancock with a bust portrait of Frederick

the Great, adapted from a painting by Pesne. About 1760. (Pl.^te 57.)

Of the same form as No. 548. The portrait, placed on one side of the mug, is a slightly
modified version of the original, showing the head and bust only, and differing in other
details from the print on Nos. 547 and 548. Below tlie bust are a ribbon inscribed " The
ICING of PRUSSI.\, &c., Hancock fecit Worcester." and the additional signature " R H
Worcester" accompanied by an anchor, the mark of Holdship. On the reverse side of the
mug and on the front are the same subjects as on No. 548, of Fame and a trophy; from
the latter the inscribed flags and the signature are omitted. H. 52 in., diam. 4} in.

550. Mug, printed in black from the same plates as No. 547. Dated 1757.

Cylindrical with loop handle. The signature of Hancock below the print of the trophy of Hags
is accompanied by au anchor, the mark of Holdship. H. 4! in., diam. 3I in.

551. Mug, printed in black, with a portrait of King George II. from the same plate by

Hancock as No. 546. .'^bout 1755.

Inverted bell-shaped, with loop handle. The portrait is placed on one side of the mug, the
other being occupied by a group of British men-of-war, differing from that on No. 546.
On the front is a print of a boy with a cap of Liberty from the same plate as that on
No. 546, accompanied by the same signature and mark. H. 4I in., diam. 3J in.

552. Mug, printed in black, with a bust portrait of General Wolfe (b. 1727, d. 1759),

period v/ith modifications from an engraving by Richard Houston after a sketch

WORCESTER. 99

by Captain Harvey Smith. The bust is flanked by figures of Fame and .Mars.
About 1760. (Pl.\te 59.)

Cylindrical, with loop handle, .\bove the portrait is a cupid with a laurel wreath. The figure
of Fame is from a different plate from that on Xo. 488, being represented with a single
trumpet and a laurel branch. .Mars is shown seated and fully armed, with spear and shield.
H. 5j in., diam. 4 in.

Probably made to commemorate Wolfe's victory and death at Quebec in 1759. Compare
note on Xo. 5.

553. Mug, printed in black from a plate by Hancock with a bust portrait of General

John Manners, Marquis of Granby fb. 1721, d. 1770), copied from an engraving
by Richard Houston, published in 1760, after a painting by Sir Joshua Reynolds,
now in the collection of the Earl of Wemyss. The portrait is flanked by figures
of Fame and Mars, from the same plates as those on No. 552. About 1760.
(Pl.\te 59.)

Cylindrical with loop handle, .\bove the portrait is a rupid with a laurel wreatli. H. 6 in.,

diam. 4I in.
Probably made to commemorate the victory at Minden in 1759.
Church, fig. 29.

554. Mug, printed in black with a three-quarter length portrait of .Admiral Boscawen

(b. 171 1, d. 1761), and a shield with his arms, both copied from an engraving
by John Faber the younger, published in 1747, after a painting by Allan
Ramsay ; the portrait has been modified by the addition of names, in allusion
to the capture of Louisbourg in 1758, to the chart held in the admiral's hands.
About 1758. (Pl.\tf. 58.)

Cylindrical with loop handle. The portrait is on one side ; the shield of arms, in the midst of
a naval trophy, is on the front. On the reverse side is a print of two men-of-war, differing
from those on Xos. J46 and 551. The chart in the hands of the admiral is marked with
the names " Labrado " and "Louisbu," and is also inscribed " Louisbourg " on the rolled-up
portion. H. 3I in., diam. 2| in.

555. Mug, printed in black from a plate by Hancock with a bust portrait of King

George III. (1761 — 1820), after an engraving by James Mc.\rdell, dated 1761,
of a painting by Jeremiah Meyer. The bust is flanked by figures of Britannia
and Fame. About 1780. (Pl.\te 58.)

Bell-shaped, with loop handle. Britannia is represented seated with spear and shield, and in
her left hand a small statuette of Victory ; I'ame is depicted almost nude, blowing a trumpet
and holding a second trumpet in her left hand. H. 3J in , diam. 3j in.

A proof from the plate of the portrait in the pos.session of the Royal Worcester Porcelain Works
accompanies the Collection (Xo. 1826). This plate was originally engraved about the time
of King George's marriage in 1761 ; the print on this mug has the appearance of a late
impression. 'Ihe style of the figure of Britannia also indicates that the piece was made
towards the close of the 18th century. It may have been made to celebrate Lord Rodney's
victory at Cape St. \'incent in 1780.

556. Mug, printed in black from a plate attributed to Hancock with a half-length

portrait of William Pitt, Earl of Chatham (b. 1708, d. 1778), after a painting
bv William lloare, now in the .National Portrait Gallery, of which an engra\ing
bv Richard Houston accompanies the collection. No. iS65. 'i'iie portrait is
flanked by figures of Fame and Minerva. .About 1760. (Plate 58.)

Bell-shaped, with loop handle. The figure of Fame is from the same plate as that on Xo. 532.
Minervais represented sealel, with Gorgon shield and spear. H. 3J in., diam. 2; in.

G -J

joo WORCESTER.

557 Mug, printed in black. On the front is a print from a plate attributed to Han-
cock of Shakespeare leaning on a pedestal decorated with busts of Henry \ .,
Richard III. and Oueen Elizabeth, after the monument in Westminster Abbey,
executed in 1740 bv Peter Scheemakers from the design of William Kent. On
either side are figures emblematical of Tragedy and Comedy. About 1770.
Cylindrical with loop handle. The poet is pointing at a scroll inscribed—
" The Cloud-capt Tow . . .
The Georgeous Palac . .
The Solemn Temples
The Great Globe itself
Yea all which it inhe . . .

shall dissolve
And like y' baseless
Fabrick of a Vision
Leave not a Wreck behind."
H. '1 in., diam. 4 in.

558. Mug, printed in black from plates by James Ross with the same subjects as the
jug No. 545. About 1760. (Plate 56.)

Cylindrical, with loop handle. H. si '"•. diam. 4^ in. , ^ . , t 1

Bought at Amsterdam on August 17th, 1869, see Journals, >., p. 33, " At Gaiiz s we have lound
... a tall Freemason's mug, Worcester, black transfer-prmted, los.

559 Mug, printed in black with a hunting-scene from the same plate as part of the
subject on the exterior of the punch-bowl, No. 539. About 1770.

Cylindrical, with loop handle. H. 5I in., diam. 3I in.

560. Mug, printed in black with subjects after Gainsborough and Luke Sullivan from

the same plates as those on No. 541. About 1760.

Cylindrical, with loop handle. H. 6 in., diam. 4I in.

561. Mug, printed in black. On one side is a group of two ladies and a gentleman

angling in a park, taken from " A view of the Canal and of the Gothic Tower
in the Garden of his Grace the Duke of Argyle at Whitton, in Middlesex," drawn
and engraved by William W^ooUett ; on the other side is a print of three ladies
with a fortune-teller, who is accompanied by a boy and a dog, from a plate
attributed to Hancock, adapted from a painting by Antoine Watteau known
as " La Diseuse d'Avcnture," of which an engraving by Laurent Cars accom-
panies the collection (No. 1824). About 1760. (Plate 58.)

Cylindrical, with loop handle. The print of the fortune-teller differs from the original by the
addition of a man peeping from behind a tree in the background, and in ether details
H. 4? in., diam. 3Yir in.

Compare Hobson, Worcester Porcelain, p. 73. The subject of "La Disense d Avciitiire appears
as here represented on pi. 84 of The Artist's ]'adc Meciim.

562 Mug, printed in black. On one side is a print from a plate by Hancock of

the milking scene from the view of Woobourn, engraved by Luke Sullivan

and dated 1759, which occurs on No. 487 ; on the other side is a group from

a painting Icnown as "The Mav Day," by Francis Hayman, formerly in one

of the boxes at Vauxhall Gardens. A photograph of an engraving by Charles

Grignion after the latter accompanies the Collection, No. 1825. About 1760.

Cvlindrical, with loop handle. The " Mav Dav " group consists of three milkmaids dancing

' to the music of a violin played by a one-legged fiddler and a man in the background

supporting a trophy of plate on his head. H. 4I in., diam. 3^ m.

WORCESTER. loi

The "May Day" subject is explained in Sniitli. Jjook for a Rainy Daw pp. 14-16: — "The
gaiety during the merry month of May was to nie most delightful; my feet, though
1 knew nothing of the positions, kept pace with those of the blooming milkmaids who
danced round their garlands of massive plate, hired from the silversmiths to the amount
of several hundreds of pounds for the purpose of placing round an obelisk covered with
silk lixed upon a chairman's horse. The most showy flowers of the season were arranged
so as to fill up the openings between the dishes, plates, butter-boats, cream jugs and
tankards. This obelisk was carried by two chairmen in gold-laced hats, six or more
handsome milkmaids in pink and blue gowns, drawn through the pocket-holes, for they
had one on either side ; yellow or scarlet petticoats, neatly quilted ; high-heeled shoes ;
mob-caps, with lappets of lace resting on their shoulders ; nosegays in their bosoms ; and
flat WofTmgton hats, covered with ribands of every colour. But what crowned the whole
of the display was a magnificent silver tea-urn which surmounted the obelisk, the stand
of which was profusely decorated with scarlet-tulips. A smart, slender fellow of a fiddler,
commonly wearing a sky-blue coat, with his hat profusely covered with ribands, attended ;
and the master of the group was accompanied by a constable to protect the plate from
too close a pressure of the crowd when the maids danced before the doors of his
customers.

" One of the subjects selected by Mr. Jonathan Tyers for the artists who decorated the boxes
for supper-parties in Vauxhall Gardens was that of milkmaids on May-day. In that
picture (which, with the rest painted by Hayman and his pupil, has lately disappeared)
the garland of plate was carried by a man on his head ; and the milkmaids, who danced
to the music of a wooden-legged fiddler, were extremely elegant. Thev had ruffed cuffs,
and their gowns were not drawn through their pocket-holes as in my time ; their hats
were flat, and not unlike that worn by Peg Wotfington, but bore a nearer shape to
those now in use by some of the fishvvomen in Billingsgate. In Captain M. Laroon's
' Cries of London,' published by Tempest, there is a female entitled ' A Merry Milkmaid.'
She is dancing with a small garland of plate upon her head ; and from her dress I
conclude that the Captain either made his drawing in the latter part of King William Ill.'s
reign or at the commencement of that of Queen Anne."

563. Mug, printed in black. About 1760. (Pl.\te 58.)

Cylindrical, with loop-handle. On one side is the subject of two milkmaids and a man
with pails, from a plate by Hancock, which occurs on \o. 341 ; on the other is " The May
Day " as on No. 562. H. 4I in., diam. 3I in.

Compare notes on Nos. 541 and 562.

[564. Mug, Bow porcelain, see p. 23.]

565. Mug, printed in black, .\bout 1765. (Plate 56.)

Cylindrical, with loop handle. On either side is a view of classical ruins. One of these
with a bearded man looking up at a vase in the foreground, is a modified version of
one of the prints on the vase No. 421, and appears to be from the same plate partially
recut ; in the other a reclining man and a broken bas-relief figure iMominenllv in the
foreground. H. 5j in., diam. 4 in.

566. Mug, printed in black. About 1760. (Plate 58.)

Cylindrical, with loop handle. On one side is the subject of two ladies and a gentleman
angling, from the view of Whitton, by William Woollett, which appears on No. 561 ;
on the other side are figures of a lady and gentleman watching a gardener grafting
a tree. II. 3 J in., diam. jj in.

567. Mug, printed and painted in black, .\bout 1760.

Cylindrical, with loop handle. On the front are three ladies beneath a tree in a garden,
one standing and two seated wreathing flowers on hoops. This subject is flanked on
either side by butterflies. The handle is painted with scrolls. H. 3J in., diam. 2J in.

I02 WORCESTER.

568. .Mug, printed in black, .^hout 1770. (Fi..\te 56.)

In the form of an inverted truncated cone. On one side is the subject from a plate by
Hancock of a man with two milkmaids which occurs on the jug, No. 541, and cup and
saucer. No. 666 : on the reverse are a youth and a young woman hurrying along, carrying
the one a hay-rake, the other a pitch-fork, in a landscape with buildings. H. 3J in.,
diam. 35 in.

Engravings of both subjects, published by Robert Sayer in 1766, were formerly included in
the Merton Thorns Collection, sold in igio. They appear on plate 89 in The Artist's
Vade Meciim, 3rd edition, published in 1776, in the Library of the British Museum.

569. Mug, decorated with prints in black washed over with green enamel. .-Vbout

1765. (Plate 58.)

Cylindrical, with loop handle. On one side is a view^ in the Dutch mannf-r, of an inn, with
a man drinking at the top of a flight of steps and another standing beside a barrel. On
the other side is a girl on a ladder closing the door of a large bird-coop mounted on stakes
beside a stream ; in the background is another girl leaning on the rail of a wooden
footbridge. H. 3! in., diam. 2I in.

570 Mug, decorated with prints in lilac washed over with enamel colours. About
1765. (Pl.ate 58.)

Cylindrical, with loop handle. On one side is the subje. t of a girl at a bird-coop which
appears on No. 569. On the other is a view of a cottage near a stone bridge over a
stream in which two laundresses are washing clothes ; a boy leans blowing bubbles over
the rail of the bridge. The colours used are green, yellow, blue, and reddish-brown.
H. 3; in., diam. 2| in.

571. -Mug, printed in blue. Mark, a shaded crescent printed in blue, and "July 31

1773" incised (No. 44). Dated 1773.

Cylindrical, w'ith loop handle. Printed with a carnation and other sprays of flowers and a

butterfly. H. 5I in., diam. 3| in.
Hobson, Worcester Porcelain, pi. xix, fig. 4. The mark is reproduced in Chaffers, Marks and

Monograms, 13th edition, p. 793.

572. Mug, painted in colours and gilt. On the front is a shield with the arms of

Sir Bellingham Graham, 5th Bart., of Norton-Conyers, Yorkshire (d. 1790).
.\bout 1780.

Cylindrical, with loop handle. The shield, which is incorrectly rendered, is charged quarterly,
ist and 4th, argent, a fess chequy argent and azure, on a chief azure, three escallops or,
between the two ordinaries a chevronel gules ; 2nd and 4th, argent a martlet or, charged
on the breast with a fret sable, in its beak an olive-twig slipped proper ; over all on an
inescutcheon sable a sinister hand erect gules. Small detached sprays of flowers are
scattered over the remaining surface of the mug ; round the rim is a gilt band. H. 5I in.,
diam. 4 in.

This piece has the appearance of having been decorated by an enameller outside the Worcester
factory, possibly in London The arms correctly rendered should be quarterly, ist and 4th,
or on a chief sable three escallops of the field, fo'r Graham ; 2nd and 3rd, or a fess chequy
argent and azure, in chief a chevronel gules, for Stuart ; 2nd and 3rd, per chevron embattled
or and azure, three martlets counterchangtd, two and one, those in chief charged on the
breast with a fret of the first and that in base with a fret sable, for Wilson ; over all on
an inescutcheon argent, a sinister hand erect gules. Sir Bellingham Graham niarried
PTizabeth, daughter of Benjamin Hudson by Elizabeth daughter and heir of Thomas
Wilson, of Bridlington. The arms of Wilson were granted to the first-named lady in 1766 ;
she died in 1767. Sir Bellingham Graham died in 1790, and was succeeded in the title
by a son of the same name. The mug would therefore appear to have been painted
between 1767 and 1790. Its style is against the probability of its having been made for
the 6th baronet.

Journals, ii., illustration facing p. 278.

WORCESTER. 103

573. Mug, painted in colours and gilt. On the front is a shield with the arms of

Martindale, of Cumberland. Under the bottom are the initials " I M " in
ornamental characters and the date "April. 5"' 1770," in gold. (Pl.a.te 66.)
Cylindrical, with loop handle. The shield is charged barry of six argent and gules, over all
a bend sable ; it is of rococo form, surrounded by scrollwork and bunches of grapes with
foliage in natural colours, and is supported by a boy with a blue scarf tlirown over one
shoulder, holding in his right hand a rod twined about with vine. A ribbon below the
shield bears the motto "MERITE FORTUNE." Bouquets and sprays of flowers in rich
gilding are distributed over the remaining surface. H. 5I in., diam. 4 in.
Journals, ii., illustration facing p. 27S ; Hobson, Worcester Porcelain, pi. .\cviii, fig. 5.

574. Mug, painted in colours and gilt. Mark, a crescent in overglaze blue enamel.

About 1770. (Plate 65.)

Cylindrical, with loop handle. On the front are the initials "1 S M" in gold within a gar-
land of flowers in colours ; on either side are bouquets in gold. Round the to]) and
base are conventional borders in overglaze blue {bleu de roi). H. in., diam. 4 in.

575. P.\iR OF Mugs, painted in colours and gilt. About 1770. (Pl.\te 65.)

Cylindrical, with loop handle. In front of one are the initials " D A M C " and of the other
" J M \V," in gold within a wavy gilt framework, intertwined with a wavy wreath of
light blue husk-pattern and embellished with small sprays of Howers in colours. On
either side of both mugs are a bow and an arrow respectively, each wreathed with
flowers in natural colours. Small sprays are scattered over the remaining surfaces. Each,
H. 5I in., diam. 3^ in.

576. Pair of Mugs, painted in colours and gilt. About 1765. (Plate 62.)

Bell-shaped, with loop handle. On either side is a Chinese landscape in crimson enclosed
within a quatrefoil-shaped panel reserved on a canary-yellow ground, on which are
scattered sprays of chrysanthemums and other flowers in colours. Round the toji^is a
border of gilt flowers and close red foliage. H. 5^ in., diam. 4', in.

Compare note on No. 484.

577. Mug, painted en camdieu in colours. On the front is the crest of Cooke. About

1760. (Plate 62.)

Inverted bell-shaped, with loop handle. The crest, painted in grey, with crimson scroll-
work below it, consists of a winged unicorn's head. It is enclosed within a border of
rococo scrolls in lilac, flanked on either side by a bouquet and sprays of flowers in the same
colour. H. 5f in., diam. 4J in.

578. Mug, painted in colours. On the front is a shield of arms. About 1760.

(Plate 62.J

Inverted bell-shaped, with loop handle. The shield, argent a fess dancctty sable between
six billets ermine, is surrounded by rococo scrollwork in crimson against a landscape back-
ground in colours, on either side of which are sprays of flowers en cama'ieu in purple.
H. 4J in., diam. 3J in.

Similar in style of painting to an armorial jug, dated 1757, belonging to tin' Corjjoration" of
Worcester ; see note on No. 542.

Journals, ii., illustration facing p. 278.

579. Mug, painted in colours and gilt. Mark, a crescent in underglazc blue.

About 1770.

Cylindrical, with loop handle. On the front is painted a classical urn within a panel of gilt
rococo scrollwork, enclosed by garlands of flowers in colours. Similar garlands hang on
either side of the handle from a border of diaper ornament in gold on an overglaze blue
(fc/fii de roi) ground. Round the base is a border of gilt husk-pattern on a similar blue
band. H. 5J- in., diam. 3J in.

104 woRCi':s'i"]':i^.

580. Muc, iKiinted in colours ami gilt. Mark " IV " in blue (No. 38). About 1770.

Cylindrical with loop handle. Fainted with festoons and sprays of flowers in colours in sliapt'd

■ panels surrounded by gilt rococo scrollwork and reserved in white on a (ground of dark blue
scale-pattern. II. 4J in., diara. 3!^ in.

581. Mio, painted in colours and gilt, .\bout 1770. (Pl.\te 64.)

Cvlindrical, with loop handle. The base is encircled by a narrow border in underglaze_blue,

■ with Howers on a wavy stem reserved in white. Above this the surface is divided into
vertical panels alternately wide and narrow. The former are painted in colours with
pseudo-Japanese flowering plants and monsters ; the latter are decorated with a floral trellis
reserved in white on dark underglaze blue ground over which is a diaper of gilt scrollwork.
H. 3j in., diani. 2}, in.

582. Ml'g, painted in colours and gilt. About 1770.

Cylindrical with loop handle. Painted with e.xotic birds and butterflies in two large and two

■ small shaped panels surrounded bv gilt rococo scrolls and reserved in white on an apple-
green ground. Round the rim inside is a green border edged with gilt scrolls. H. 3, in.,
cliam. 2 1 in.

582a. Mug, painted m colours and gilt. About 1770. (Pl.\te 64.)

Cylindrical, with loop handle. Painted with bouquets and sprays of flowers in two large and
two small shaped panels, surrounded bv gilt rococo scrolls and reserved in wliite on an
apple-green ground. Round the rim is a white border edged with gilt scrolls. H. 3J, in.,
diam. 2f in.

583. MiT,, painted in colours and gilt. About 1770. (Plate 65.)

Cylindrical, with loop handle. On the front is an Italian landscape with a waterfall, castle.
' and bridge, in an oval medallion surrounded by a wreath of husk-pattern in light blue and
suspended by crimson ribbons. On either side are bunches of fruit and leaves in natural
colours. H. 3; in., diam. 2^ in.

584. Mug, painted in black outline, washed over with green enamel, and in red.

About 1765. (PL.1.TE 65.)

Cvlinchical, with loop handle. On the front is a quatrefoil-shaped panel with red and black
' border enclosing a landscape with a church in black and green ; on one side of the panel
is a pheasant perched on a spray, and on the other side are three birds flying, in the same
colours. H. 3J in., diam. 2^ in. v o r

A similar style of decoration was in vogue at Chelsea; compare \os. 348, 391, A:c

585. Mug, painted in colours and gilt. About 1765. (Pl.vte 64.)

Cylindrical with loop handle. On either side is a Chinese landscape in crimson enclosed within
a quatrefoil-shaped panel reserved on a canary-yellow ground, on which are sprays of
chrysanthemums and other flowers in colours. Round the top is a border of gilt flowers and
close red foliage. H. 3]^ in., diam. 25 in.

Compare note on No. 484.

586. Mug, painted in colours and gilt. Mark, a crescent in overglaze blue enamel.

About 1780.

In the form of an inverted truncated cone. Round the top is a border of chevron pattern and
dots in gold on a band of enamel blue {bleu de mP) ; a plain band of the same blue encircles
the base. Below the border are festoons of crimson drapery with gilt fringe hanging over
oval medallions in blue and gold, .\bove each festoon is a rosette in crimson, blue and
gold. H. 3J in., diara. 3 in.

WORCESTER. 105

587. TiiA-SERVici-;, painted in colours and gilt. About 1775. (I'l.\te 66.)

The service consists of a tea-pot with cover and stand, milk-jug and cover, sugar-basin and cover,
tea poy and cover, bread-and-butter plate, six tea-cups with saucers, and four coffee-cups.
The pattern consists of loose wavy garlands of green leaves and small red berries depending
from the shoulders or rims of the pieces into shaped panels divided by gilt rococo scrolls.
In the centre of the plate, saucers, tea-pot stand, and covers, and round the base of the
remaining pieces is a ring or band of herring-bone diaper pattern in crimson. The tea-pot,
milk-jug, sugar-basin and tea-poy are ribbed ; their covers have knobs in the form of an
applied conventional (lower with lea%'es picked out with gilding. The tea-pot is barrel-
shaped, with nearly flat cover, ribbed curved spout and loop handle. The milk-jug is pear-
shaped with loop handle, small projecting lip and convex cover The sugar-basin and its
cover are also of convex form. The tea-poy is ovoid, with narrow cylindrical neck and
domed cover. The stand for the tea-pot is moulded in relief with the pattern of rose-
leaves and buds known as the " Blind Earl's pattern " (compare Ko. 527). The cups are
ribbed, the plate and saucers fluted. Cups, plate and saucers have a wavy edge. The tea-
cups have no handle. Tea-pot, H. 4! in., diam. 43: in.; stand, diam. 5^ in.; milk-jug,
H. 5 in., diam. 3! in. ; sugar-basin, H. 4^ in. diam. 4f in. ; tea-poy, H. 6| in., diam. 3|-
in.; plate, diam. 8 in.; tea-cups, H. i| in., diam. 2^^ in.; saucers, diam. 4J in.; coffee-
cups, H. 2j- in., diam. 2| in.

Church, fig. 36 ; Burton, English Porcelain, pi. xvi ; Dillon, Porcelain, 1904, pi. xlvi.

588. Te.\-pot .\nd Cover, painted in dark blue and red and gilt, in imitation of

Chinese porcelain. Mark, a fretted square in blue. About 1770. (Pl.\te 55.)

Globular body, curved spout, ribbed loop handle, convex cover with cone-shaped knob. The
surface of both pieces is divided into vertical panels painted with conventional floral and
scrolled ornament, alternately red on white and white outlined in gold on blue. H. 6 in.,
diam. 4I in.

The same pattern, derived from Chinese porcelain, appears also on Chelsea-Derby porcelain ;
compare a Chinese cup and saucer in the Museum, No. 3390-1901, and a Chelsea-Derby
tea-pot in the Schreiber Collection, No. 450.

589. Te.\-pot .\i\d Cover, painted in colours and gilt. Mark, a crescent in blue.

About 1770. (Pl.\te 63.1

Globular body, curved spout, ribbed loop handle, convex cover with knob in the form of
an applied conventional flower with two leaves picked out in gold. The decoration
consists of festoons of flowers in colours in large shaped panels, and sprays of foliage in
green or crimson in smaller panels, outlined with gilt scrolls and reserved in white on a
ground of dark blue scale-pattern. H. 5} in., diam. 4} in.

590. Te.\-pot and Cover, painted in colours and gilt. About 1770. (Pl.vte 65.)

Globular body, painted on either side with an exotic bird perched on the branch of a tree,
curved spout, ribbed loop handle. The domed cover has a knob in the form of a flower
and is painted with an insect and a sprig. H. 55 in., diam, 3^ in.

591. Tea-pot and Cover, painted in colours. About 1765.

Globular body painted with a bouquet and sprays of flowers, fruit and insects, curved spout,
loop handle. Slightly convex cover with cone-shaped knob. H. 5J in., diam. 4^ in.

Painted by the same hand as two tea-pots and two cups and saucers of Chinese porcelain in
the Collection (.Nos. 812, 813, and 813).

592. Tea-pot and Cover, painted in colours and gilt. About 1775. (Plate 64.)

Globular body, painted on either side with a group of exotic birds among bushes. The slightly
convex cover is painted with a similar group and has a pointed knob. The shoulder of
the tea-pot is encircled with a scalloped border and the rim of the cover with a band of
trellis-diaper in gold. Kibbed loop handle. The spout has been broken off and replaced
by one in silver. H. 6 in., diam. 4^ in.

io6 WOUCLS'Il'R.

593. Ti-.A-POT AMJ CovKR, painted in colours and >,nll. About 1775. (Plate 64.)

Ribbed barrel-shaped body with curved spout and wavy loop handle, Hat cover with knob in the
form of an applied conventional Hower with two leaves picked out in gold. On either side
of the body and surrounding the attachment of the spout are sprays of llowers in natural
colours. On the shoulder is a band of trellis-diaper in black on a turquoise-blue ground,
edged with gilt rococo scrolls, which is continued over the edge of the cover. H. 5 in.,
diam. 4^; in.

594. Tka-pot and Cover, painted in colours and gilt. About 1770. (Plate 63.)

Of the same form as No. 589. Round the shoulder of the tea-pot and the edge of the cover is
a border of trellis-diaper in gold on a ground of overglaze blue enamel (bleu de rot) edged
with gilt rococo scrolls. Respectively below and within this border arc groups and
scattered bunches of fruit in natural colours. H. 6^ in., diam. 5I in.

595. Tea-pot and Cover, painted in overglaze blue enamel and gilt. About 1770.

(Plate 63.)

Cvlindrical body with short straight spout and loop handle in the form o£ two inter-
twined stems with foliage ; conve.v cover with handle in the form of a bent twig. Both
body and cover are painted with bouquets and sprays of flowers in blue. The handle,
spout, and edges are picked out with gilding. H. 4I in., diam. 4* in.

" .4 complete tea and coffee equipage, with twisted handles beautifully enamelled in natural
groupes of blue flowers, gilt edges forty-three pieces 3!. 13s.," was one of the lots in the
sale of the factory at Messrs. Christies in December, 1769 ; see Nightingale, Contributions,
p. 98.

[596. Tea- pot, Lowestoft porcelain, see p. 159.]

597. Tea-pot and Cover, painted in colours and gilt, in imitation of Japanese

Kakiyemon porcelain. About 1760. (Pl.\te 55.)

Fluted bulbous body with curved spout and ribbed loop handle, convex cover, also fluted, with
bulb-shaped knob. On either side of the body are a dragon Hying among clouds and
insects above a pair of crabs and flowering plants, in red, light enamel blue, yellow and
freen. The crabs and plants are repeated on the cover. Round the shoulder and round the
edge of the cover is a narrow band of close red foliage with gilt flowers at intervals.
H. 6 in., diam. 5J- in.

598. Tea-pot and Cover, painted in colours and gilt. About 1765.

Bulbous body, with curved fluted spout and loop handle, convex cover with knob in the form
of an applied flower and leaves picked out in colours. On the body and cover are
bouquets and scattered sprays of flowers in natural colours. H. 6^ in., diam. 5 in.

599. Tea-pot and Cover, painted in colours and gilt. Mark, a fretted square in blue.

About 1770. (Pl.\te 55.)

Fluted bulbous body with curved spout and ribbed loop handle, convex cover with knob in
the form of an applied flower with two leaves picked out in colours. On either side of
the body is a design of conventional chrysanthemums and a fish-like dragon in red,
(lark enamel blue, green, yellow and gold in the pseudo-Japanese style. Round the
shoulder and round the edge of the cover is an irregular turquoise-blue border broken at
intervals by reserves with trellis-diaper in red and edged with gilt rococo scrolls. Within
this border on the cover, and on the spout, are small chrysanthemum-sprays. H. 5I in.,
diam. 5} in.

600. Tea-pot and Cover, painted in colours and gilt. About 1775. (Plate 64.)

Of the same form as No. 589. On either side of the body is an exotic bird perched on a
branch, and on the cover are a sprig of foliage and an insect, all in colours against a
ground of close wavy gilt stripes which cover the whole of the body and the outer part
of the cover. The spout, of which the top has been broken off and replaced in silver, is
decorated with leaf-ornament in gold. H. 5^^ in., diam. 4I in.

WORCESTER. 107

601. Tea-pot and Cover, painted in colours and gilt. About 1770.

Similar in form to No. 591. On either side of the body are exotic birds among bushes in a
large fan-shaped panel, flanked by butterflies in four circular medallions, reserved in
white on a powder-blue ground, which is enriched with gilt chrysanthemum-sprays. The
cover is similarly decorated. The spout is left white and painted with formal ornament
in crimson. H. jj i"-. diam. 4J in.

Of the same pattern as No. 658.

602. Tea-pot and Cover, painted in blue and gilt. Mark, a fretted square in blue.

About 1770.

Fluted bulbous body with curved ribbed spuut and loop handle in the form of two inter-
twined twigs, convex cover, also fluted, with knob in the form of an applied flower
with two leaves painted in colours. The flutings of both body and cover are alternately
coloured with enamel blue {bleu de ni), and decorated with garlands of flowers in gold
on the white ground. H. 5j in., diam. 5J in.

Nos. 516 and 6j6 belong to the same set.

603. Tea-pot and Cover, with gilt decoration. About 1775. (Plate 64.)

Barrel-shaped body with ribbed curved spout and wavy loop handle, nearly flat cover with
round knob. On one side of the body are the initials " E T ' in monogram among
leafy spirals within a shaped panel bordered by rococo scrollwork and hung with festoons ;
above the panel is perclied a bird, and on either side of it, seated each with a bird
flying above him on a branch of the scrollwork, are cupids engaged respectively in
sounding a conch-shell and in blowing bubbles. On the reverse side is a group of small
birds perched on low trees with cottages in the background. The shoulder is encircled
by a border of trellis-diaper broken by rosettes in compartments. A similar border on
the cover encloses two birds on a branch. The spout is decorated with a cornucopia
full of flowers. H. j| in., diam. 4I in.

604. Tea-pot and Cover, painted in colours and gilt. Mark, a fretted square in blue.

About 1770. (Pl.ate 6j.)

Similar in form to No. 589. The surface of the body is divided by broad powder-blue
bands into four panels, which are painted in colours in the Japanese style with birds
among rockwork or flowering plants. On the blue bands, amidst gilt foliage, are oval
medallions in reserve enclosing floral sprays. Round the middle of the cover and above
the foot is a narrow band of flowers on a wavy stem reserved in white on a blue ground.
The outer part of the cover is divided by radial powder-blue bands into four panels
with floral ornament in colours similar to that on the body. H. 6} in., diam. j/'j in.

The pattern is that of a service said to have been made for Sir Josluia Reynolds ; compare
note on No. 508.

605. Tea-pot and Cover, painted in colours and gilt, in imitation of Sevres porcelain.

Mark, " li'" in blue. .About 1775.

Of the same form as .\o. 593. The sides of the body are painted with garlands ol green
leaves and red berries, hanging between vertical bands of trelliswork in crimson and
gold, from a band in blue enamel {hleii de rot) edged with gilding which encircles the
shoulder. The base is decorated with a border of cell-pattern in black on a green band
edged with gilt scrolls. The cover is similarly ornamented with a bleu dc rot band, garlands,
and trellis, and green cell-pattern arranged concentrically round the knob. H. 45 in.,
diam. 4} in.

N'os. 613, 621, 644 and 657 belong to the same service. The pattern, known as the "hop-
trellis " pattern, is copied from Sfevres porcelain ; a Sivres tea-pot in the Museum decorated
in this manner (\o. C. 188 — 1913) bears the date-letter for 1704. Compare Hobson,
Worcester Porcelain, p. 99.

i„S WORCESTER.

606. ■ri;.v-i'()T AND CovKR, painted in colours and gilt. About 1770. (Pl.\te 63.J

Of the same form as No. 581). The decoration consists of conventional clirysanthcmums and
other flowering plants in psevido-Japanese style, in red, green and yellow, in large and
small shaped panels, outlined with gilt scrolls and reserved in white on a ground of
dark blue scale-pattern, H. .iij in., diam. 4J! in.

607. rK.\-roT AND CovKR, printed and painted in blacl<. On one side is a pr'mt

after a French original of the subject known as " L'Ainutir," from a plate
by Hancock, signed "R H Worcester"; the signature is accompanied by an
anchor, the mark of Holdship. About 1760. (Plate 56.)

Bulbous body, with curved octagonal spout and ribbed loop handle, slightly convex cover
with knob in the form of an applied flower with two leaves. The subject "L'Amoiir"
represents a gallant on a garden-seat beside a lady, whose hand he leans forward to kiss.
Another lady stands behind. In the foreground are a spaniel and a garden roller, and
in the background a fountain with a statue of Neptune in his chariot. The print on
the reverse side of the bodv depicts a lady and gentleman dancing in a landscape to
the tune of a fiddle played 'by another gentleman who is seated. The cover is printed
with views of a ruin and' a windmill. Interlaced ornament is painted on the handle and
spout. H. 5I in., diam. 4^ in.

For the prints see Hobson, Worcester Porcelain, p. 73 ; also Ballantyne, p. 5, where reference
is made to a print by a French engraver with French verses beneath, from which the
subject is copied.

608. Tea-pot and Cover, decorated with prints in purple painted over in colours

and with gilding. On one side is the same subject as appears on No. 489,
copied from an engraving by Francis Vivares, published in 1752, after a
painting dated 1701 by Pierre" Antoine Patel. Mark, a fretted square in blue.
About 1770. (Pl.\te 58.)

Globular body with curved foliated spout and loop handle in the form of two intertwined
steins, slightly convex cover with knob in the form of an applied flower with two leaves
painted in colours. The print after Vivares is described under .\o. 489. On the other
side is a ruined columned structure near a river, with a church beyond it ; in the
foreground are a lady and two gentlemen. Three small views of ruins decorate the
cover. .\ panel of rococo ornament, uncolouied, is printed on the spout. H. 6 in.,
diam. y^ in.

609. Tea-pot and Cover, decorated with prints in purple painted over in colours

after a design by Jean Pillement. About 1765. (Plate 56.)

I'he body is of slightly depressed globular form ; in other respects the form is the same as
that of No. jS8. The print, repeated on either side of the body, represents a Chinese
boy standing beside a rococo branch on which another boy sits astride with a bow at the
end of a stick in his hands ; to the left is a flowering tree, and in the background are
seen buildings and water. The cover and spout are also decorated with small prints
of rococo scrolls and buildings. H. 5 in., diam. 4; in.

For the print compare Hobson, Worcester Porcelaiu, pi. 1, fig. 2, p. 85. The figures appear
also on a bottle in the collection, No. 482.

115. Tea-pot and Cover, moulded in relief and painted in colours. About 1760.

Globular body moulded in slight relief with vertical ribs interrupted on either side by a

panel, bordered with scrolls and foliage coloured crimson, containing a landscape with

two figures painted in colours. Round the shoulder, on the curved spout, and on the

cover are sprays of flowers. H. jj in., diam. 5^ in.
The cover is not that originally made for the tea-pot. The figure-subject appears also on

the cups and saucers, No. 637.

WORCESTER. 109

118. Tea-pot and Cover, painted in colours. About 1755. (Plate 61.)

The body and cover are moulded with broad vertical bands in slight relief, interrupted by
panels enclosed by rococo scrolls and painted with Chinese figures in landscapes. The
tea-pot has a loop handle, curved spout painted with a spray of liowers, and four small
scrolled feet ; the spout has been broken and repaired with a silver nozzle. H. j} in.,
diam. 4^ in.

719. Te.\-pot and Cover, moulded in relief, jjainted in colours and gilt. About
1760. (Plate 6i.)

Barrel-shaped body with ribbed loop handle and curved spout, flat cover with l;not in the form
of an applied flower and two leaves painted in colours. Between two horizontal bands of
foliated scrollwork in relief, picked out in crimson, which encircle the body, are on one side
a conventional Chinese landscape with a figure of a man fishing, on the other a branch of
a fruit-tree in blossom, both moulded in relief and painted in colours. A wreath of similar
crimson scrollwork on the cover encloses the knob and two painted sprays of flowers;
another floral spray is painted on the S])out. H. 4^ in., diam. 3| in.
One half of the body is from the same mould as that of another tea-pot in the .Museum
(Xo. 3243-igoi), decorated in blue only, which bears the mark resembling "TF " in mono-
gram ; compare note on No. 35.

610. Coffee-pot a.vd Cover, printed in black. On one side of tiic body is the sub-

ject of " 'l"he Tea Party," from a plate by Hancock ; on the other is a group
from a painting by Antoine Watteau known as " La Diseuse d'Aventure."
About 1760. (Plate 57.)

Pear-shaped body with long curved spout printed witli rococo scrollwork, and loop handle ; the
slightly convex cover has a knob in the form of an applied (lower with two leaves and is
decorated with the same views of ruins as are printed on the cover of No. 608. The prints
of " The Tea Party" and the " Disease d'Aventure" are fully described under N'os. 500 and
561. H. 8i in., diam. 45 in.

611. CoiEEH-POT AND CovER, printed iu black. On one side is the subject known as

" L'Amoiiy," from a plate by Hancock. About 1760.

Of the same form as No. 610, e.Kcept that the cover is highly domed. The subject of
" L' Amour" is fully described under No. 607. The print on the reverse represents a ladv
watering fiowers in a garden in wliich are two large ornamental vases. The spout is
printed with rococo scrollwork. On the cover are two landscapes with ruins. H. 8' in.,
diam. 4^ in.

[612. CoEEEE-POT, Liverpool porcelain, sec p. 152. |

613. MiLK-jfG, painted in colours and gilt, in iniitation of Sevres porcelain. .Ybtnit

1775. (Plate 63.)

Kibbed pear-shaped body with projecting lip, scalloped rim, and wavy loop handle. The body
is painted with garlands of green leaves and red berries hanging between vertical bands of
trelliswork in crimson and gold, from a border in blue enamel (bleu de roi) edged with gilding ;
a similar border encircles the base. H. 43 in., diam. y^ in.

See note on No. 6o>

614. .MiLK-jLc; .\Nn Cover, painted in colours and gilt, in iniiialicin of Chinese

porceL'iin. Mark, fi\e simulatetl Chinese characters within a doiibh' circle, in
blue. .'Xbout 1770.

Pear-shaped body with projecting lip and loi.p handle, domed cover with knob in the form of an
applied llcAver with two leaves painted in colours. Half-chry.santlieniums with petals
diversely painted in red, blue, green and gold project downwards from the edge and

no WORCESTER.

upwards from the base. Between these are three dark blue discs with gilt trellis-diaper.
Two similar discs decorate the cover. The edge ot the cover and the base are encircled bv a
narrow band of flowers on a wavy stem reserved in white on a blue ground. H. 53 in.,
diam. j,-'j in.
Xos. 517, 610, 632 and 655 belong to the same service. See note on Xo. r.55.

615. Mii.K-jUG AN'D CovKR, painted in colours and gilt. Mark, a fretted square in

blue. About 1770. (Pl.\te 63.)

Of the same form as Xc. 61.1.. The decoration consists of two exotic birds in colours in large
shaped panels and insects in smaller ones which are outlined with gilt rococo scrolls and
reserved in white on a ground of dark blue scale-pattern. H. 55 in., diam. 3i in.

616. Cream-jug, moulded in relief and painted in blue. Mark, a crescent in blue.

About 1765.

Of the same form as a Chelsea cream-jug in the Collection (No. 379). The exterior is painted on
one side with conventional flowers, and on the other with trellis-pattern in the Chinese
style edged with foliated scrolls. H. 3^ in., W. 4; in.

617. Crham-jug, moulded in relief and painted in blue. About 1760. (Pl.\te 61.)

He.Kagonal, with wavv rim, projecting lip and scrolled loop handle. .\ Chinese landscape with
buildings and a bridge is moulded in low relief on the outside ; the inside is painted with
floral sprays and on the bottom with the Chinese character yueh ("moon") reversed.
H. 2f in., W. 4^ in.

618. Cream-jug, moulded in relief and painted in blue. Mark, a crescent in blue.

About 1760. (Pl.ate 61.)

Barrel-shaped, with projecting lip and scrolled loop handle. -\ rosette hanging from a ribbon is
moulded on the front between two leafy scrolls. Round the top and the base are painted
borders of Chinese cell-pattern. H 2j in., diam. 2] in.
Hobson, Worcester Porcelain, pi. xvi, fig. 3.

619. Tea-poy axd Cover, painted in colours and gilt, in imitation of Chinese

porcelain. Mark, four simulated Chinese characters within a double circle, in
blue. About 1770.

Ovoid bodv, high foot, narrow cylindrical neck, convex cover with knob in the form of an
applied flower and two leaves painted in colours. Half-chrysanthemums with petals
diversely painted in red, blue, green and gold, project downwards from a line round the
shoulder and upwards from the base. Between these are four dark blue discs with trellis-
diaper in gold. Two similar discs decorate the cover. The edge of the cover and the base
are encircled by a narrow band of flowers on a wavy stem reserved in white on a blue
ground. H. 6J in., diam. 3J in.

Nos. 517, 614, 632 and 635 belong to the same service. See note on No. 655.

620. Tea-poy and Cover, printed in grey with the same subjects as No. 611. About

1765. (Plate 56.)

Of the same form as Xo. 619. On the cover are two small views of ruins. 1 1. 6J in., diam.
3 in.

621. SuGAR-BOWL AND CovER, painted in colours and gilt. About 1775.

Of ribbed convex form ; the cover has a wavy edge and a knob in the form of an applied gilt
flower with two leaves. Both bowl and cover are painted with garlands of green leaves and
red berries, respectively hanging and pointing inwards from a border of blue enamel (bleu
de roi) edged with gilding, h similar border encircles the base of the bowl and forms a ring
round the knob of the cover. H. 4' in., diam. 4^ in.

See note on No. 605.

WORCESTER. iii

622. SuGAR-BOwr. .\xd Cover, painted in colours and gilt. Mark, a fretted square in

blue. About 1770.

Of convex form, with ogee-domed cover surmounted by a knob in the form of an applied flower
with two leaves painted in colours. Both pieces are decorated in colours with exotic birds
among bushes in shaped panels and insects in smaller panels bordered with gilt scrollwork
and reserved in white on a ground of dark blue scale-pattern. H. 4I in., diam. .^| in.

623. PoRxroN OF .\ Service, consisting of sugar-basin and cover, milk-jug, cake-plate,

spoon-tray, two tea-cups and saucers and two coffee-cups, printed in black with
the subject known as " L' Amour," from a plate by Hancock. The print on the
cake-plate is signed "R H Worcester"; the signature is accompanied by an
anchor, the mark of Richard Holdship. .About 1765.

On the cover of the sugar-basin, which has a knob in the form of a flower, are two groups
of ruins. The milk-jug is pear-shaped, with projecting lip, curved rim, and loop handle
rising to a sharp point. The spoon-tray is oblong with six scalloped sides. The tea-
cups have no handles and are printed inside on the bottom with swans.

Sugar-basin, H. 4} in , diam. 4I in. ; milk-jug, H. 3S in., diam. 2\ in. ; cake-plate, diam.
6f in. : spoon-tray, L. 6J in., W. 3I in.; tea-cups, H. i| in., diam. 3 in.; saucers, diam.
4I in. ; coffee cups, H. 2', in., diam. 2^ in. Compare No. 607.

624. P.\iR OF B.\sixs, painted in colours and gilt, with the "quail pattern" in the

style of Japanese Kakiyemon ware. About 1765. (Pl.\te 55.)

Reeded, with scilloped rim. Painted on the outside with two quails, a flowering prunus tree,
and other plants, and inside with a floral spray on the bottom and a border of gilt con-
ventional flowers among close red foliage round the rim. Each, H. 2§ in., diam. 4J in.

625. B.\si.N-, painted in colours and gilt. Mark, a crescent in red. About 1770.

The outside is painted in colours with pairs of exotic birds among bushes in three fan-slia])cd
panels and insects in three circular medallions between them. The panels and medallions
are enclosed by gilt borders, from which spring sprays of llowers also in gold, and are
reserved in white on a powder-blue ground. Inside on the bottom are butterflies and
other insects in colours. H. 2I in., diam. 6 in.

626. Bowl, painted in colours and gilt. Mark, a crescent in blue. About 1770.

Fluted, with wavy edge. On the outside are two wreaths of flowers in natural colours twined
round a bow and an arrow respectively, and a third wreath in the form of a true lover's
knot. Round tlie edge is a border of blue enamel (bleu de rof), with gilt scrolls and
pendants. H. 3 in., diam. f)J in.

Compare No. 631.

627. Basin, printed in black, with subjects fnni plates bv Hancock, each signed

" R. Hancock fecit." About 1765.

The outside is decorated with the following prints:— (1) A gentleman standing by a gate
in conversation with a milkmaid, who carries a pail on her head ; {2) three haymakers
beneath a tree, a man sitting and another standing, both with forks, and a woman
seated with a rake; (3) the subject of milkmaids and a man which occurs on No. 341.
Inside on the bottom is a group of three swans. H. 2f in., diam. 6 in.
1 he third of the figure-subjects occurs in an engraving published by Robert Sayer in 1776 ;
see note on No. 568.

628. Basin, printed in black. On the outside is the subject known as " L'Amoiir,"

from a plate by Hancock, signed " R H Worcester " ; the signature is accom-
panied by an anchor, the mark of Richard Holdship. .Vbout 1765.

Tlie subject '•I.'Amotir" is described under .No. 607. The outside is further decorated with
three other prints : (i) .\ lady and gentleman seated on the ground in a landscape, watching
the gambols of two dogs ; (2) a small domed building with twisted columns; (3) a statue
on a pedestal. Inside is the same print of swans as on No. 627. H. 2J in., diam. 6 in.

,,2 WORCESTER.

629. I'k.^-pot St.\nd, printed in black. About 1765. (Plate 58.)

Hexagonal, witli fluted rim. I'riiitod in the middle with the view of an inn wliich occurs on
No. 569. Diam. 5' in.

630. Tk.x-pot Stand, printed in black from a plate by Hancock, signed " R. H. fecit "

and painted in the same colour. About 1765. (PL.vrE 58.)

Of the same form as No. 629. The print depicts two Chinamen reclining beneath an awnmg
stretched over a platform of woodwork and masonry. The rim is painted with a
border of Chinese trellis-diaper broken by bands enclosing llowers. Diam. 5J \n.

The print appears on pi. 178 of The Ladiea' Amusemcvt.

631. Tea-1'OT Stand, painted in colours and decorated with gilding. Mark, a crescent

in black enamel. About 1770.

Of the same form as No. 629. A conventional border in blue enamel {bleu de roi) and gold
is painted on the rim. In the middle is a floral spray in the same colours, withm a
medallion surrounded by three wreaths of flowers in colours, one in the form of a true
lover's knot, the others twined about a bow and an arrow. Diam. 5J in. .

Compare No. 626.

632. Tea-pot Stand, painted in colours and gilt, in imitation of Chinese porcelain.

Mark, five simulated Chinese characters within a double circle, in blue.
About 1770.

Of the same form as No. 629. Four half-chrysanthemums, with petals diversely painted m
red, blue, green and gold, project inwards' from the edge of the rim. A chrysanthemum
in gold outline, with red and green centre, occupies the middle, within a narrow circular
band of tlowers on a wavy stem reserved in white on a blue ground; in the intervals
are four blue discs with gilt trellis-diaper. Diam. 6 in.
Nos. 517, 614, 619 and 655 belong to the same service. See note on No. 655.

633. Tea-pot Stand, painted in colours and gilt. Mark, a crescent in blue.

About 1770.

Of the same form as No. 629. Round the rim is a border of chain-pattern in gold on a
band of blue enamel Wen de voi) edged with gilt scrolls. In the middle is a small
river-scene painted in colours in a medallion surrounded by a border of turquoise-blue
husk-pattern ; beyond this are three garlands of flowers with butterflies between in natural
colours. Diam. 6 in.

634. Spoon-tray, moulded in relief and painted in colours. About 1755. (Pl.\te 6i.j

Oval, moulded with floral sprays laid over radial reeding, which is interrupted by small
shaped panels painted with Chinese figures in landscapes or flowers. Roui.d the rim is
a border of scrolls in crimson. L. 5I in., W. 3j in.

635. Spoon-tray, painted in colours and gilt. Mark, a fretted square m blue

(No. 42). About 1770.

Of oblong hexagonal form, with scalloped rim. .A.t either end is a lozenge-shaped panel
painted in colours with an exotic bird among bushes ; between and in the middle are
insects in smaller panels. The panels are bordered with gilt scrollwork and reserved in
white on a ground of dark blue scale-pattern. L. 5^ in., W. 3^ in.

636. Tea-cup and Saucer, painted in colours and gilt. Mark, "IT" in blue. About

1775-

Both pieces fluted witli scalloped edge. The cup is decorated outside and the saucer inside
with a bleu de roi border edged with gold ; below this is a wavy garland of green leaves
with red berries twined about a crimson line. Inside the cup on the bottom, and in
the middle of the saucer is a gilt circle enclosing detached leaves and berries. Cup,
H. 2} in., diam. 3fJ in.; saucer, diam. 5^ in.

WORCESTER. 113

637. T\V(i Tea-cups and Saucers, painted in colours. About 1760.

Both cups and saucers are six-lobed, with brown wavy edge and border of floral ornament
moulded in slight relief. Outside the cups are two shaped panels and in the middle of
the saucers another similar panel, all painted with the same subject of two figures in
costume of the period in a landscape with trees and buildings. The remaining surfaces
are decorated with bouquets or sprays of flowers. The cups have no handles. Cups,
H. i^ in., diam. 2} in.; .saucers, diam. 4ff in.

A similar cup and saucer are figured in Hobson, Worcestey Porcelain, pi. Ivii, i. The subject
appears also on a tea-pot in the Collection, No. 115.

638. Two Tea-cups .ksu Saucers, painted in colours and gilt, in the Japanese style.

About 1770.

Both cups and saucers are fluted, with wavy edges. The surface of the cups outside and of the
saucers inside is divided into four large panels, separated by narrower panels, which radiate
from a narrow band with flowers on a wavy stem reserved in white on a ground of underglazc
blue. The narrow panels are decorated with a red chrysanthemum among gilt foliage on a
ground of powder-blue. The large ones enclose alternately chrysanthemum-plants and
branches of pruiuis-hlossom in colours and gold. Inside the cups and in the middle of the
saucers is also a conventional chrysanthemum. The cups have no handles. Cups, H. i| in.,
diam. 3^^ in. ; saucers, diam. 4f in.

639. Two Tea-cups a\d Saucers, painted in colours. About 1765. (Plate 55.)

Both cups and saucers are octagonal, the sides being alternately painted with flowering plants
in red and green in the Japanese style, and plainly coloured with powder-blue. Inside the
cups and in the middle of the saucers is a red flower. The cups have no handles. Cups,
H. i| in., diam. if in.; saucers, diam. 4^ in.

640. Two Tea-cups, moulded in low relief and painted in colours. About 1765.

Moulded outside with a broad band of conventional flowers and foliage on a continuous wavy
stem in relief washed over with yellow enamel. Above this, round the rim, is a border of
scrolls in crimson interrupted by sprigs of flowers in colours. Inside, on tlie bottom, is a
rose-bud in natural colours. The cups have no handles. Each, H. ij in., diam. 3i in.

641. Two Tea-cups and Saucers, painted in colours with the "quail pattern" in

imitation of Japanese Kakiyemon porcelain. Mark, a crescent in red (No. 41).
About 1765. (Plate 55.)

Outside the cups and inside tlie saucers are two quails among flowering plants. Inside both cups
and saucers is a narrow border of small yellow flowers among close red foliage. The cups
have no handles. Cups, H. ij in., diam. ig in.; saucers, diam. 4I in.

642. Tea-cup and Saucer, painted in colours and gilt. Mark, a crescent in blue.

About 1770.

Both pieces fluted, with scalloped edges. Inside the cup on the bottom, and in the middle of
the saucer is a landscape within a border of foliage in turquoise-blue. Outside the cup and
on the rim of the saucer are groups of flowers and butterflies in colours below a formal
border in blue enamel (bleu de roi) and gold. The cup has no handle. Cup, H. ij in.,
diam. 3I in. ; saucer, diam. 5^ in.

643. Two Tea-cups and Saucers, painted in colours and gilt. About 1765.

(Plate 55.)

The cups are decorated outside and the saucers inside with figures of Chinese children among
plants or with sprays of flowers in shaped panels outlined by gilt scrolls and reserved in
white on a ground of dark blue scale-pattern. The cups have no handles. Cups, H. i| in.,
diam. 2j in. ; saucers, diam. 4g in.
X 192:.9 H

114 WORCESTER.

644. Tea-cup and Saucer, painted in colours and gilt. Mark, a crescent, on the cup
in gold (No. 40), on the saucer in blue enamel over the glaze. About 1775.
Both pieces are Huted and have a scalloped edge. The cup is decorated outside and the saucer
inside with pendant garlands of green foliage and red berries alternating with vertical
or radial bands of trelliswork in crimson and gold which connect horizontal bands of
formal ornament in bleu de roi and gold. The cup has no handle. Cup, H. ifl in.,
diam. 3 in. ; saucer, diam. j in.
See note on No. 605.

545_ Two Tea-cups and Saucers, moulded in relief, painted in colours and gilt.
About 1765.

The cups are decorated outside and the saucers inside with a broad band moulded in relief with
conventional flowers and foliage on a continuous wavy stem ; round the rims inside is
painted a border of closely set flowers and foliage in the style of the Chinese famille rose.
Inside the cups on the bottom, and in the middle of the saucers is a parrot perched on a wreath
of flowers and vine with grapes. The cups have no handles. Cups, H. ij in., diam. 3I in. ;
saucers, diam. 5I in.

A block for the mould from which these cups are taken is in the museum of the Royal Porcelain
Works, at Worcester, see Hobson, Worcester Porcelain, pi. xiv., 8 ; a tea-service " enameVd in
parrots" was sold at Christie's in December 1769, see Nightingale, Contributions, p. 98.

646. Two Tea-cups, painted in dark underglaze blue and gilt. Marked with double
" L " in blue enamel in imitation of Sevres porcelain and with the date in
gold (No. 46). Dated 1782.

Both are reeded and have no handle. They are decorated outside with a conventional border
in blue and gold from which hang gilt festoons and inside with a floral spray. Each,
H. i| in., diam. 35^ in.
Bought at Bordeau.x, October 22nd, 1875, see Journals, i., p. 371, " The Savers have not nearly
such a good stock as they had previously, but we found a little Battersea etui with them,
and two very curious Worcester cups, bearing a forged Sfevres mark and (in gold) the
date 1782." See also Hobson, Worcester Porcelain, p. 134, and mark No. 128 on p. 190.

547. Two Tea-cups and Saucers, decorated with a design in gold derived from
Japanese porcelain. About 1765.

Both pieces are decorated with wavy lines forming the outline of the petals of a flower. The

cups have no handles. Cups, H. if in., diam. 2^ in.; saucers, diam. 4I in.
The decoration is the same as that of No. 535 ; see note thereon.

648. Two Tea-cups and Saucers, painted in colours and gilt. About 1775.

Both cups and saucers are fluted and have a gilt scalloped edge. The cups, which have no
handles, are painted outside with bunches of fruit in colours below festooned scrolls in
gold, and with another group of fruit inside on the bottom. The saucers are decorated
with similar scrolls and bunches surrounding a central group. Cups, H. ij in., diam.
2f in. ; saucers, diam. 4! in.

649. Two Tea-cups, Coffee-cups, and Saucers, painted in black and turquoise-blue

and gilt. About 17S0.

Each piece is painted round the rim with a border of beading and rosettes en grisaille on a
turquoise-blue band. Tea-cups, H. if in., diam. 3 in. ; coffee-cups, H. 2| in., diam. 2J- in.
saucers, diam. 45 in.

650. Two Tea-cups and Saucers, painted in colours and gilt. Mark, a fretted

square in blue. About 1770.

The cups are painted outside, the saucers inside with exotic birds among bushes and with
insects in colours, in shaped panels bordered with gilt scrollwork and reserved in white
on a ground of dark blue scale-pattern. The cups have no liandles and are painted inside
each with a butterfly. Cups, H. if in., diam. 2| in.; saucers, diam. 4I in.

WORCESTER. 115

651. Two Tea-cups and Saucers, painted in colours and gilt. About 1770.

The cups are painted outside, the saucers inside with exotic birds, among bushes in three fan-
ihaped panels, separated by insects enclosed in small circular medallions. The panels
and medallions are reserved in white on a powder-blue ground over which are laid
conventional floral sprays in gold. The cups have no handles. Cups, H. i^\ in., diam.
2| in. ; saucers, diam. 4/^ in.

652. Two Tea-cups and Saucers, painted in colours and gilt. Mark, a crescent in

blue. About 1770.

The cups are decorated outside and the saucers inside with festoons of flowers and small sprigs
in shaped panels outlined with narrow gilt lines and reserved on a ground of dark blue
scale-pattern. Inside the cups on the bottom and in the middle of the saucers is a rose-bud.
The cups have no handles. Cups, H. if in., diam. 2j- in. ; saucers, diam. 45 in.

653. Two Coffee-cups and S.a.ucers, painted in colours and gilt, in the Chinese style.

About 1765.

The cups are painted outside and the saucers inside with three figures of Chinese divinities
holding emblems, one of them seated against a rock. Round the rim of the cups inside,
of the saucers outside, is a narrow border of gilt cresting. Cups, H. 2J in., diam. 2-J-J in. ;
saucers, diam. 4JJ in., 4^ in. respectively.

654. Two Coffee-cups, painted in colours and gilt. Mark, a fretted square in blue.

About 1770.

On either side of both is an exotic bird standing by a bush, in colours in a large shaped panel ;
srnaller intervening panels are painted witfi insects, all the panels being outlined with
gilt scrollwork and reserved in white on a ground of dark blue scale-pattern. Each,
H. 2l in., diam. 2j in.

655. Two Coffee-cups and Saucers, painted in colours and gilt, in imitation of

Chinese porcelain. About 1770.

Three half-chrysanthemums, with petals diversely painted in red, blue, green and gold, project
inwards from the edge on the rim of the saucers. A chrj'santhemum in gold outline, with
red and green centre, occupies the middle within a narrow circular band of flowers on a
wavy stem reserved in white on a blue ground ; in the intervals are three blue discs with
gilt trellis-diaper. On the lower side of the rim are two sprays of chrysanthemums in red
and blue. The cups are decorated with similar motives, a half-chrysanthemum on either
side pointing downwards from the rim and another on the front point upwards from the
narrow band of flowers which encircles the base ; three blue discs decorate the interior.
Cups, H. 2i in., diam. 2VV in. ; saucers, diam. 5j in.

A Chinese cup and saucer of the same pattern is figured in Hobson, Worcester Porcelain,
pi. xxviii, fig. I. Other pieces belonging to the same service are \os. 517, 614, 6iq,
and 632.

656. Two Coffee-cups and Saucers, painted in colours and gilt. Mark, a fretted

square in blue (No. 43). .'\bout 1770.

Both the cups and the rims of the saucers are fluted, with wavy edge. The flutings arealternatelv
painted with overglaze bleu dc rot enamel and decorated with pendant garlands of flowers iii
gold. Inside the cups on the bottom and in the middle of the saucers are detached sprigs of
flowers in natural colours. The handles of the cups are in the form of gilt intertwined
twigs. Cups, H. 2I in., diam. 2|J in. ; saucers, diam. 5^ in.

657. Coffee-cup and Saucer, painted in colours and gilt, in imitation of Sevres

porcelain. About 1775.

Both pieces are fluted and have a scalloped edge. The cup is decorated outside and the saucer
inside with pendant garlands of green foliage and red berries, alternating with vertical or
radial baiidsof trelliswork in crimson and gold which connect horizontal bands of formal
ornament in bleu de roi and gold. Cups, H. 2,",, in., diam. al in. ; saucers, diam. 5J in.
See note on No. 605.

H •-'

ii6 WORCESTER.

658. Two Chocoi,ate-cups, painted in colours and gilt, .\bout 1770. (Plate 64.)

On the outside are exotic birds among bushes in three fan-shaped panels separated by insects
enclosed in small circular medallions, reserved in white on a powder-blue ground, which is
enriched with gilt chrysanthemum-sprays. The cups have each a single handle. Each,
H. 2j in., diam. 2^ in.

Of the same pattern as No. 601.

659. Two Chocolate-cups and Saucers, painted in colours with the so-called

" partridge pattern " in imitation of Japanese Kakiyemon porcelain. About
1765. (Plate 55.)

The cups are inverted bell-shaped and have no handles, the upper part being lobed, with wavy

edge. The high rim of the saucers is similarly lobed. The cups are painted outside and

the saucers inside with two quails beside a blossoming plum-tree and other (lowering plants.

Inside both cups and saucers is a narrow border of small gilt flowers among close red foliage.

Cups, H. 2| in., diam. 3J in.; saucers, diam. jj in.

660. CiiocoLATE-cup AND Saucer, painted in colours and gilt. About 1770.

The cup is inverted bell-shaped and has two scrolled loop handles, the upper part being
lobed, with gilt wavy edge. The high rim of the saucer is similarly lobed. The cup
is decorated outside and the saucer inside with garlands of flowers in natural colours
within two shaped panels, alternating with sprays in small circular medallions; the
panels and medallions are outlined in black and reserved in white on a canary-yellow
ground. Inside both pieces is a border of crimson scrolls interrupted by sprigs of
flowers in colours. On the bottom of the cup inside is a rose-bud. Cup, H. 2f in., diam.
3I in. ; saucer, diam. jf in.

661. Chocolate-cup and Saucer, painted in colours and gilt. Mark, a fretted square

in blue. About 1770. (Plate 63.)

The cup is inverted bell shaped and has two openwork scrolled loop handles, the upper part
being lobed, with gilt wavy edge. The high rim of the saucer is similarly lobed. The cup
is decorated outside and the saucer inside with pseudo-Chinese figures playing musical
instruments in the style of Watteau, in colours in large shaped panels, separated by exotic
birds or sprays of flowers in smaller panels, outlined with gilt rococo scrolls and reserved in
white on a ground of dark blue scale-pattern. Inside the cup is a border of gilt trellis-pattern
and scrollwork. Cup, H. 2| in., W. 5I in.

662. Chocolate-cup and Saucer, painted in colours and gilt. About 1775.

Botli pieces are lluted, with gilt scalloped edge. The cup is painted outside and the saucer on
the rim with festoons of flowers in natural colours tied with blue ribbons. A spray of
flowers occupies the middle of the saucer and the inside of the cup. The cup has two
scrolled loop handles. Cup, H. 3J in., diam. 4 in. ; saucer, diam. 65 in.

663. Chocolate-cup, Cover and Saucer, painted in colours and gilt, in imitation of

Japanese Imari ware. Mark, four simulated Chinese characters within a double

circle, in blue. About 1770. (Plate 63.)

The cup and saucer are of the same form as No. 660; the domed cover has a knob in the
form of an applied flower with two leaves painted in colours. All three pieces are decorated
with vertical or radiating panels enclosing various diaper designs or floral sprays ; the
panels are broken at intervals by conventional chrysanthemums. Inside the cup on the
bottom and in the middle of the saucer is a twisted branch of primus blossom. Outside
the saucer are two peony-sprays in red and blue. Cup and cover, H. 5^^ in., W. 4I in. ;
saucer, diam. j| in.
A Japanese dish with the same pattern is figured in Hobson, Worcester Porcelain, pi. xxvii, i.

WORCESTER. 117

664. Coffee-cup, printed in brown. About 1765.

The print depicts two ladies, one of whom is having her fortune told by an old woman with a
baby holding a toy windmill slung on her back : a boy stands behind the fortune-teller,
whilst a country house is seen in the background. H. 2f in., diam. 2| in.

664a. Saucer, printed in lilac with a group of classical ruins amongst which are seen
the so-called Temple of Minerva Medica, the Pyramid of Caius Cestius, and the
obelisk in the Piazza del Popolo, at Rome. About 1765.

In the foreground is an urn on a pedestal beside a small tree. Diam. 4I in.

665. Two Te.\-cups .\nd S.\ucers, printed in black, .-^bout 1770.

Biith cups and saucers are lluted, with scalloped edges coloured black, and are printed with a
loose bunch of flowers and detached sprays. The cups have no handles. Cups, H. i| in.
diam. 2f in. ; saucers, diam. 4! in.

666. Te.\-cup and Saucer, printed in black with a group of a man and two milk-

maids after a plate by Hancock, and other subjects ; below the print on the
saucer is the signature "Hancock fecit." About 1765.

The figure-subject, which is described under Nos. 541 and 568, is printed on the saucer and
on one side of the cup ; on the reverse side of the cup is a group of three cows, and
inside it on the bottom is a swan. Cup, H. i| in., diam. 25 in, ; saucer, diam. 4^ in.
Compare note on No. 568.

667. Two Tea-cups and Saucers, printed in black with the subject known as

" L'Amour," from a plate by Hancock. Below the prints on the saucers are
the signatures " R H Worcester," accompanied by an anchor, the mark of
Holdship, and " R. Hancock fecit," respectively. About 1765.

The subject of the print is described under No. 607. The cups have no handles and are

printed inside on the bottom with a swan. Cups, H. ig in., diam. 25 in.; saucers,

diam. 4^ in.

668. Coffee-cup and Saucer, printed in black with the subject known as " The Tea

Party," from a plate by Hancock. Mark, crossed swords, in imitation of the
mark of the Meissen factory, and "9.," in blue (No. 45). .Vbout 1765.

"The Tea Party," described under No. 500, occupies one side of the cup, while on the reverse
is a print of a waiting-maid and a page bringing a plate and a kettle. The handle
is composed of two intertwined stems. Cup, H. 2J in., diam. 2J in.; saucer, diam. 5 in.
Compare note on No. 500.

[669. Cup and S.aucer, Bow porcelain, see p. 26.]

670. Tea-cup and Saucer, printed in black. About 1765.

The print on the saucer depicts a gentleman teaching a lady to play the fiiite. They are
seated on the ground near a monumental fountain which is surmounted by an urn ; a
loggia and a beacon by the sea-shore are seen in the distance. This subject is repeated
on the outside of the cup, the fountain and the remainder being detached and printed
separately on opposite sides ; inside on the bottom is a small view of a ruin. The
cup has no handle. Cup, H. il in., diam. 3 in.; saucer, diam. 4I in.
These pieces approach in thinness the "eggshell" porcelain of China. .A similar saucer is
figured in liobson. Worcester Pnrcelitiii. pi. li, fig. 3; compare note thereon on p. 85. .Ml
engraving of the figure-subject (which occurs also on the pickle-trays No. 533) published
by Robert Sayer in 1766, was formerlv included in the Merton Thoms Collection, sold
in 1910.

ii8 WORCESTER

671. TiCA-cup AND Saucer, printed in lilac. About 1765.

On one side of the cup, which has no handle, is a river-scene with a stone bridge on which
are three men hshing, one of them with a casting-net ; on tlie other side is a landscape
with distant hills. The saucer is printed with a view of a river witfi ruined buildings,
and figures in the foreground. Cup, H. ij in., diam. 3 in.; saucer, diani. 4! in.

124. Tea-cup and Saucer, decorated with prints in lilac painted over in colours.

About 1765. (Plate 58.)

On one side of the cup is a landscape with a large tree and two figures in the foreground
and a square building in the distance; the other side is printed with the same subject
as the saucer of No. 671. On the saucer is an Italian river-scene with a fortilied tower
on either side of the stream and three figures in the foreground. Cup, H. i| in., diam.
2| in. ; saucer, diam. 4I in.

125. Iwo Coffee-cups and Saucers, decorated with prints in lilac painted over in

colours. About 1765. (Plate 58.)

One of the cups is printed on one side with a view of Italian mountain scenery, on the
other with a ruined colonnade and two figures. The prints on the second cup depict
a landscape with a round tower and other buildings, and two figures in the foreground of
a view of ruins amongst which are introduced an aqueduct and the Temple of Vespasian
at Rome. The saucers are printed respectively with a group of ruins with a fortress in
the background, and a river-scene with a water-mill and weir, and in the foreground,
a man fishing. Cups, H. 2| in., diam. 2j in. ; saucers, diam. 4^ in.

672. Goblet, printed in black and gilt. About 1770. (Plate 56.)

Two loop handles with gilt decoration, high foot. Oh one side is a view of a statue
supported on a ruined colonnade with, in the foreground, a gentleman in i8th century
costume drawing, attended by another who holds a portfolio. On the reverse side is another
architectural print, in which the Ponte I^otto at I?ome is introduced ; beside the bridge
is a ruined temple and in the foreground is a man fishing. H. 3J- in., W. 4I in.

The bridge and the figure of an angler in the second print are adapted from an engraving
by I'rancis Vivares, after a drawing by Busiri, published by J. Boydell in 1769 with
the title, " The remains of the Senatorial Bridge upon the Tiber, now called I^onte
liotto."

673. Two Coffee-cups, moulded in relief and painted in colours. Mark, " v " (?) in

red. About 1760. (Plate 62.)

Cylindrical, expanding slightly at the top and moulded with vertical ribs which are interru])ted
by panels bordered with scrolls in relief. The two larger panels, on either side, are
painted en camdieu in crimson with landscapes, the same two landscapes appearing on
both cups ; in a smaller panel, on the front, is a floral spray in colours. Inside the
rim is a border of scrollwork and flowers in colours. Each, H. 2\ in., diam. 2\ in.

674. Two Tea-cups, moulded in relief and painted in underglaze blue. About 1755.

(Plate 62.)

The outside is moulded with n(iral sprays laid over a pattern of vertical ribs, which is
interrupted by three shaped panels with borders of rococo scrollwork. Chinese landscapes
or groups of trees are painted inside these panels, and round the rim internally and
externally are borders of Chinese trellis-diaper; inside on the bottom is painted a spray
of flowers. Each, H. 2 in., diam. 3I in.

Hobson, Worcfstey Porcelain, pi. xvi, fig. 1.

675. Mug, painted in canary-yellow and gilt. Mark, " Chamberlain Worcester" written

in gold (No. 50). About 1800.

Cylindrical, with foliated loop handle. Decorated with a broad and a narrow band of yellow-
edged with gilt cresting, and between these with a formal wreath ia gold. H. j] in.
diam. 4^ in.

VI.— LONGTOX HALL.

THE earliest manufacture of porcelain in Staffordshire was that
carried on for a few years by William Littler, at Longton Hall,
near Stoke-upon-Trent. Littler appears previously to have pro-
duced salt-glazed stoneware at Brownhills, near Burslem, and a certain
class of pieces, such as No. 1,004 *^ ^he Schreiber Collection, with a
ground of brilliant blue enamel, are ascribed to him. It is known
from advertisements that he was making porcelain at Longton in 1752,
1757 and 1758, and from the account book of William Duesbury that
in 1752 he sent goods, probably porcelain, to be enamelled by Dues-
bury in London. 1 It is generally believed that Duesbury, afterwards
manager of the Derby factory, was for a short time connected with the
Longton works and that he purchased the plant when the factory was
closed, probably about 1759.

Two tea-caddies in the Hanley Museum, authenticated as having
been made by Littler, are probably early productions of the factory.
The later output may be identified from the descriptions in the
advertisements, and with the help of pieces, such as No. 683 in the
Collection, bearing a mark consisting of two crossed L's with a string
of dots below in underglaze blue, which is reasonably interpreted as
signifying " Littler, Longton."

The paste is of translucent, glassy character. A distinctive rich
streaky blue is sometimes used as a ground colour in the decoration,-
whilst a decided predilection is observable for moulded ornament of
overlapping leaves after nature,''' in which the midribs and venis of the
leaves are more pronounced than in foliated pieces made elsewhere.
Lor ornamental vases irregular and somewliat ungainly forms were
adopted.'* The attribution to Longton Hall of the figures described
below is highly probable, though based on conjecture only. A distinc-
tive strong red in the painting of the features, an uneven yellow, and
a dry green are characteristic, as well as the lumpy appearance of tlte
underside of the base.

' Bemrose, Longton Hall Povcelain, p. 8.
-No. 683. ^Nos. 683, 117, 332. ■'Nos. 36, 47.

120 I.ONGTON HALL.

§ I. STATUETTES AND GROUPS.
Nos. 676-682.

These pieces are all painted in enamel colours, amongst which a
dense brick-red, a dry yellow, and a green resembling that of a primrose-
leaf are conspicuous ; gilding of poor quality is also added except in
the case of Nos. 680, 682 and i6g.

676. Actor, perhaps intended for David Garrick (b. 1717, d. 1799). (Plate 69.)

Standing figure, wearing a pink sleeved cloak with yellow lining thrown over one shoulder,
a white tunic with a pattern of stars, partially unbuttoned, red breeches and shoes and
white stockings. His right hand rests on a book lying open on a panelled pedestal on
the front of which are suspended a mask, a dagger and a wreath ; the book is inscribed
with words of which " The cloud cap . . . the gordeous " are alone legible. Oblong
plinth. H. 7J in.

A similar figure appears in Bemrose, Longton Hall Porcelain, pi. xxxiii.

677. Group. Two boys feeding a goat. (Plate 69.)

One of the boys is sitting on a rock, with a basket of grapes under his right arm and his
left arm round the horns of a goat that stands beside him with its mouth full of grapes ;
his companion reclines beside the rock with his right hand on the edge of the basket.
Both boys are naked except for loose drapery, red and yellow respectively, thriiwn about
their shoulders. The flesh is tinted with a reddish-pink colour. The group is supported
on a rococo-scrolled pedestal with applied flowers on which traces of gilding remain.
H. si in-. W. 6 in.

Two groups from the same model are reproduced in Bemrose, Longton Hall Porcelain,
pi. xl. A similar group in Plymouth porcelain is in the Collection (No. 693).

Journals, »., illustration facing p. 360.

678. Market-woman selling Butter. (Plate 70.)

She is seated with legs crossed on a rock with rococo scrollwork and applied flowers on the
front and wears a yellow hood, a pink cape over a red bodice, and a white skirt with
a pattern of stars similar to that on the figure \o. 676. A basket containing pats of
butter is suspended from the rock, whilst the woman holds a small dish of butter in
her right hand and another object, now missing, in her left ; on her lap are flowers.
H. 5l m.

679. Man reclining. (Plate 69.)

He leans to the left on a rock, supporting a shallow basket with his left hand ; his right arm
is raised. His dress consists of a pink coat over a white waistcoat with a pattern of
stars, red breeches, white stockings and black shoes. The figure rests on a rococo-scrolled
base with applied flowers. H. 6J in., W. 4J in.

A similar figure is reproduced in Berruose, Longton Hall Porcelain, pi. xxxiv.

680. Boy, emblematic of Autumn. (Plate 70.)

He sits leaning towards the left on a rococo-scrolled pedestal. He supports a basket of
grapes with his right hand and holds out a bunch of them in his left hand. He is
dressed in a plumed black hat, a purple cloak, a red and yellow doublet, purple trunk
hose, white stockings and black shoes. H. 45 in., \V. 3I in.

A similar figure, wrongly described as a girl, appears in Bemrose, Longton Hall Porcelain,
pi. xxxiv.

LONGTON HALL. 121

681. Boy, perhaps emblematic of Autumn. (Plate 70.)

He sits on a tree-stump, which rises from a rococo-scrolled base, and leans to the left on a
small cask. He wears a plumed black hat, a red coat over a white waistcoat, crimson
breeches tied below the knee, loose white stockings and black shoes. H. 5J in.

A similar figure appears in Bemrose, Longton Hall Porcelain, pi. .\x.\i.

169. Old M.\n, emblematic of Winter. (Plate 70.)

.An old man wearing a long white coat with yellow lined hood, blue fur-trimmed cap, blue
breeches, and yellow stockings, standing warming his hands over a brazier. Supported on a
scrolled base. H. 4; in.

A similar figure is reproduced in Bemrose, Boiv, Chelsea and Derby Porcelain, on the title-
page of the Appendix on Longton Hall.

189. Boy with Flowers, copied from a Meissen figure modelled about 1750.
(Plate 70.)

A bare-legged boy seated on a vintager's basket full of flowers, wearing a pink coat and
breeches, with yellow bows on the shoulders and flowers at the knees ; he holds bunches
of flowers in his hands. Rococo-scrolled base. H. 4J in.
Similar to the figure reproduced in Bemrose, Longton Hall Porcelain, pi. xxxiii. For the
Meissen original, see Album of the Royal Saxon Porcelain Manufactory, pi. 3, No. 15.

682. Musician. (Plate 70.)

A young man in a wide-brimmed black hat, short purple cape, flowered yellow tunic,
crimson breeches, white stockings and black shoes, sitting with a violin supported on
his left hip on a rocky mound, which rises from a rococo-srroUed base decorated with
applied flowers. H. 5J in.

A similar statuette, with its companion, a girl holding a sheet with a song, is shown in
Bemrose, Longton Hall Porcelain, pi. x.\.xvi.

§ 2. VASES AND PIECES FOR DOMESTIC USE.

Nos. 683, 36, &c.

With the exception of No. 683, the following pieces are all painted
in enamel colours over the glaze ; dull gilding also appears on No. 36.

683. Two Soup plates, painted in bright underglazc blue. Maik on each, crossed L's
set back to back with two dots vertically arranged below, in blue (No. 33).
(Plate 70.)

The rim of each is moulded in relief with overlapping leaves from casts after nature, and
has a scalloped edge ; the upper side is coloured with blue under the glaze. The base
of the plates, on which the mark is painted, is left unglazed. Each diam. 8J in.

One of these plates, formerly in the collection of I.ady Hopetoun, st)ld in 1885, was acquired
by Lady Charlotte Schreiber on .March i6th of that year ; the other was given to her
by Sir Augustus Wollaston Franks, K.C.B., P.S..^. i^ee Journals, ii., pp., 469, 471,
" I went early to see the things to be sold ... at Christie's. They belonged to
" poor Lady Hopetoun ... 1 had time to note two Longton plates — well marked —
" which I have since written to tell Mr. Franks about — I don't want them, as he gave
" me one like them in the summer . . . Mr. Franks has procured me one of the
" Longton plates from the sale of poor Lady Hopetoun's things. It makes .-m excellent
" match to the one I have already in the collection."

Church, fig. 53.

Y2'2 LONGTON HALL.

36. \'asI' and Cover, with applu.'d decoration in high relief. (Plate 71.) ■

Tlie vase has a rococo-shaped body witli two handles in the form of volutes, a wide concave
neck with shallow vertical fluting, and a high foot spirally fluted above a wide spreading
base. The chief features of the body are picked out in crimson. On either side is a
shaped panel, edged with gilt scrolls, painted in colours with an exotic bird among
bushes. The foot is painted with sprays of flowers, and on the handles, shoulders,
and sides are applied garlands of coloured flowers in high relief. The domed cover
is pierced with small perforations and thickly encrusted with large applied flowers,
modelled and coloured after nature; amongst them are small figures of a cock and two
hens, and a girl wearing a yellow hat, greenish-blue bodice, purple skirt, and yellow
apron, clasping with her arms a tall flowering stem which forms the apex of the cover.
H. 16 in., W. 8.5 in.
The form of this vase is similar to that of a smaller vase, bearing the Longton Hall mark,

figured by Bemrose, Longton Hall Porcelain, pi. xlvi., No. 4.
Church, fig. 52 ; Chaffers, figs. 475 and 496 ; Mrs. Hodgson, pi. 31).

47. P-\iR OF Vases of Flowers. (Plate 70.)

The vases are of rococo-scrolled form resting un a high foot, and have each panels on either
side painted respectively with a bouquet of flowers and a figure of a woman. A
modelled bouquet of flowers is inserted in the top. H. 4^ in.
Mew, pi. X.

117. Tea-pot and Cover. (Plate 68.)

Inverted pear-shaped body painted on either side with an Italian landscape in greyish-brown
washed over with purple, yellow, and green. The painting on one side depicts a town
beside a river, on which are three boats with mountains in the distance, and in the
foreground to the left a group of trees. On the reverse side is a river crossed by a high-
arched bridge, with a fortress on a terrace on the further bank ; in the foreground is a
group of men, who appear to have landed from an empty boat, towing a second boat in
which are four other men. The loop handle is in the form of a twisted vine-stem
branched at the upper end and terminating in bunches of grapes and leaves ; the spout
is formed of tivo cabbage-leaves pressed together at the edges, which are coloured green,
the midribs and veins being purple. The shallow-domed cover, which is painted with
two small butterflies, has also a handle formed of a vine-stem with grapes and leaves.
The handles are coloured in green and purple. H. 4I in., diam. 4! in.

The form of handle, which resembles that of certain Staffordshire salt-glazed stoneware
teapots (such as N.o. 2174-iqoi in the Museum), appears to be peculiar to Longton Hall.
See Bemrose, Longton Hall Porcelain, pi. B., facing p. 42, and pi. xli.

Journals, ii., illustration facing p. 360.

332. Pair of Sugar-bowls with Covers and Stands. (Plate 70.)

The bowls are each in the form of a melon, painted to imitate nature, in green, yellow and
purple; on each cover is a looped stalk with melon-leaves forming a handle. The stands,
similarly painted, are composed of overlapping lettuce-leaves. liowls, H. 45 in., 5J in.,
L. 61 in., 6| in.; stands, L. gf in., 9I in., W. 7 in., 7 in, respectively.
These pieces appear to be the " Bow melons " purchased by Lady Charlotte Schreiber for _{^20
of Hamburger at Utrecht on October 6th, 1879; see Journals, ii., p. 223, also illustration
facing p. 360. They may be compared with the sauce-boats and dish figured in Bemrose,
Longton Hall Porcelain, pi. xli.

VII.— PLYMOUTH.

SOME time between the years 1745 and 1755, tlie true china clay
or kaolin was discovered in Cornwall by William Cookworthy,
an apothecary of Plymouth. It was not, however, till March 17th,
1768, that he took out a patent for the use of this material with china
stone or petuntse, which by that time he had also found, in the
manufacture of true hard porcelain similar to that made in China.
From 1 771 to 1773, under the style of Cookworthy & Co., he carried
on the manufacture at No. 15, Castle Green, Bristol, and it seems
that in 1770 he removed his establishment to that city from Plymouth.
There is, however, some uncertainty as to the continuance of the
manufacture at Plymouth for some time after that date, and as to the
relations of the Plymouth and Bristol works.

The most characteristic Plymouth porcelain is plain white, with a
thick glaze often much discoloured by smoke-staining so as to present a
dull grey appearance.' The statuettes are often considerably mis-shapen,
the result of difiiculties in firing. Much of the ware for domestic use was
painted in blue under the glaze, generally of a dirty blackish tone.'
Where enamel colours and gilding are used they often appear to be
imperfectly fused on the glaze. The motives of decoration are mainly
derived from Chinese porcelain. The employment of a French painter
is discussed below^ under No. 726. Spiral " wreathing " of the surface,
due to defective " throwing," is characteristic alike of Plymouth and
Bristol pieces fashioned on the wheel.

The mark used at Plymouth is the alchemist's sign for tin (Jupiter),
which resembles the Arabic numerals 2 and 4 conjoined. It occurs in
underglaze blue,^ and over the glaze in reddish-brown * or blue enamel
and gold. It is certain, however, that this mark was used by Cook-
worthy after the transference of the works to Bristol, and it is probable
that many pieces on which the mark is painted over the glaze in blue
or gold^ were made at that place. An impressed " K "" is also found
on a statuette in the Collection.''

Several pieces described below were in the possession of William
Cookworthy's relatives until they were acquired from the Prideaux
Collection in 1868 by Lady Charlotte Schreiber.''

1 Nos. 68g, 696, &c. - Nos. 712, 723, 724, 757. ^ Nos. 715, 723, 724.

* Nos. 707, 713, 714, 718, 721. " Such as Nos. 711, 716, 720, 726, 727

" No. 27. ' See p. viii.

124 PLYMOUTH.

§ I. STATUETTES AND GROUPS.
Nos. 684-696.

The majority of these are decorated in enamel colours and gold ;
in a few specified cases the porcelain has been left white.

684. Figure of an Indian Woman, emblematic of America, one of a set of the

Four Continents ; painted in colours and gilt. (Plate 72.)

She stands, with a head-dress of feathers and flowered pink drapery thrown round her over
a feather girdle, taking an arrow with her right hand from a quiver on her back ; hei
left hand is raised to hold a bow. .At her left side is a tree-stump with skins hung
upon it, at the base of which is a prairie-dog. Rococo -scrolled base. H. I2j in.

This figure is evidently inspired by the antique Greek statue of Artemis, known as the
" Diane Cluisseresse," in the I.ouvre, Paris. It may be compared with a 13erby biscuit
porcelain figure of Diana in the Museum (No. 3012-1901). A similar model was used
at Bow ; compare No. S in the Collection. No. 68j belongs to the same set of
moulds ; there is a plain white Plymouth figure of Europe in the Museum (No. 3088-
igoi) also from this set. It appears that this .set of moulds was afterwards used at
Bristol ; see Owen, p. 248.

Bought in London, October 20th, 1869, see Journals, i., p. 57, "We were close to Carter's,
the Minories, and went in there . . . Carter had a fine Plymouth figure of America,
which he called Chelsea, and which we bought for £b."

Church, fig. 41.

685. Figure of a Woman, emblematic of Asia, one of a set of the Four Continents ;

painted in colours and gilt. (Plate 72.)

Standing figure supporting a covered vase of spices with both hands on a pedestal of rock.
Her dress consists of a jewelled diadem on her head and a green scarf thrown loosely
over a white robe diapered with purple flowers. A turban lies at her feet on the
rococo-scrolled base and a camel crouches behind her. H. 12! in.

From the same set of moulds as No. 684 ; see note thereon.

Church, fig. 40 ; Burton, Etiglish Porcelain, fig. 53.

686. Pair of Figures of Boys, painted in colours.

One, dressed in a black hat and shoes, white coat with blue collar, and red breeches, sits
astride of a cask with a glass raised in his left hand and a wine-bottle at his feet. The
otfier, in a brown hat and shoes, green coat with purple ct)llar, and red breeches, is
seated on a stump, playing a pipe and tabor. Both figures are supported on a high base
with symmetrical leafy scrollwork in relief on the front. H. 5^ in., 5I in. respectively.

687. Pair of Candlesticks, painted in colours and gilt, with Irgures of a woman with

flowers and a gardener with fruit, emblematic of Spring and Autumn.
(Plate 73.)

Both figures stand in front of a flowering tree on a high pedestal, covered with applied
flowers and resting on symmetrical rococo-scrolled feet ; the trunks of the trees form
supports for candle-nozzles, now missing. The woman holds up a stem of flowers with
lier right hand and with her left supports a plant in a basket on her hips. She is
dressed in a red hat and shoes, a green bodice with a gold floral pattern on the front,
a mauve scarf thrown round her shoulders, and a white apron over a skirt decorated with
coloured flowers. Sprays of flowers are also painted in white slip on her apron. The
gardener carries a basket of fruit under his right arm ; his left hand is raised as if to
attract attention. He wears a black hat and shoes, a yellow coat and pink breeches,
both diapered with flowers in gold or colours, and a blue apron. H. 9I in., io| in.
respectively.

From the same models, with modifications, as No. 689.

PLYMOUTH. 125

688. Set of Figures, emblematic of the Four Seasons, painted in colours. (Plate 75.)

Four boys, slightly draped, each standing beside a tree-stump on a high base with rococo
scrollwork in relief on the front. Spring has a garland of flowers on his head and a
purple scarf over his right shoulder ; he holds a nest with a pair of birds in it, and at
his side is a beehive. Summer wears a wreath of corn and slight blue and pink drapery ;
he carries a sheaf of corn under his left arm, another sheaf lying at his feet. Autumn,
with a wreath of grapes on his head and a flowered blue scarf twined about his body,
is in the act of squeezing grapes into a goblet which he holds in his right hand ; at
his feet is a basket full of fruit. Winter is wrapping himself in a fur-lined red cloak
and has a brazier at his feet. H., Spring, 52 in., the remainder, each 5I in.

27. Boy, emblematic of Winter, painted in colours and gilt. Mark, "K" impressed
(No. 51).

He is wrapping himself in a fur-lined brown cloak and leans against a holly-bush with a
brazier at his feet, on a rococo-scrolled base with applied flowers and foliage. H. ^^ in.
This figure is a slight variation of the " Winter " in the last set.

689. P.\iR OF CANDLESTICKS, plain white, with figures of a gardener and a woman

with flowers. (Plate 74.)

The figures are from the same models as No. 687, with the following modifications in detail.
The woman carries a basket containing flowers hung by the arch handle on her left arm ;
small impressed and incised patterns are added above the fringe of her skirt and along
the seams of her bodice. The gardener carries a plant in a flower-pot instead of a
basket of fruit under his right arm. The candle-nozzles are missing from the top of
the tree-trunk in both cases. The glaze of both pieces is much discoloured. H. gl in.,
9j in. respectively.

Dillon, 1904, pi. xlviii.

690. Pair of Figures, painted in colours and gilt. A boy and a girl with vases

of flowers. (Plate 75.)

Both figures are naked, except for a wreath of flowers on the head and loose purple drapery
at the waist. Both are seated on a rock resting on a high base with symmetrical
rococo scrollwork, picked out in gold and green, and applied flowers. They each support
a v;ise with a flowering plant in it, the boy with his left hand, the girl with her right.
H. 7j in., 7I in. respectively.

Exhibited in the Loan Collection at the Salisbury and South Wilts Museum, Salisbury, in
1872; see Read, Porcelain Statuettes, p. u.

691. Pair of Figures, plain white. A male and female musician. (Plate 74.)

Both are seated between two branches of a flowering tree on a high pedestal with symme-
trical rococo scrollwork in relief on the front. The man, playing a flute is dressed in a
plumed loose cap, a short coat, and a large apron over knee-breeches. The woman
is playing a mandoline and wears a hat set on one side of her head and a mantle
over her dress. H. 6j in., 55 in. respectively.

Formerly in the Prideaux Collection ; see p. viii.

692. Musician, painted in colours.

From the same model as the male figure belonging to the last pair (\o. 691). The cap is
white, with red edge and purple plume, the coat light bluish-green, the apron purple,
the breeches striped in red and black, the shoes black with red bows. The pedestal is
picked out in green and crimson. H. 5^ in.

693. Group, painted in colours. Two boys feeding a goat. (Plate 75.)

One of the boys is sitting on a rock, with a basket of flowers under his right arm ; his
companion reclines beside the rock. Between them they hold a long garland of flowers,
with which they are feeding a goat standing to the right of the rock. Both boys wear
a wreath of flowers on their heads, and have loose drapery, coloured red, blue and' purple,
thrown about theni. The group is supported on a pedestal with synnnetrical rococo-
scrolled feet, picked out in dull crimson. H. 7^ in., W. jj in.

Similar to a Longton Hall group (No. 677) in the Collection.

126 RLYMOUTH.

694. TAiii 111- Figures, painted in colours and gilt. "The Topers."

A boy and a young woman, seated, the former astride of a cask, the latter in a reclining
a'ttitude upon a tree-trunk. Hofli figures are supported on a high base with symme-
trical leafy scrollwork in relief on the front ; on either side of each is a branch with
applied flowers and foliage. The boy, who holds up a tankard in his left hand, wears
a black hat and shoes, a liglit blue jacket, and red breeches. The woman leans on a
cask and raises a wine-glass to her lips with her right hand ; she is dressed in a purple
bodice, a flowered skirt and red shoes, and has a red plume in her hair. H. 6J in.,
6 in. respectively.

Church, fig. 39.

695. Two Figures, plain white, emblematic of Spring and Winter, from a set of

the Four Seasons.

The figures, two boys slightly draped, are similar to those in the coloured set. .No. 688.
Winter is almost identical with that in the set, and with .\'o. 27, whilst Spring varies
from the coloured example in the pose of the arms, No beehive is placed at his side, and
instead of a nest he holds up a bunch of flowers in his right hand, resting his left hand
on a branch of the flowering tree at his back. Each, H. 5I in.

Formerly in the Prideaux Collection.

696. Frederick THE Gre.\t, King of Prussia (1740-1786); plain white porcelain.

(PL.A.TE 74.)

The king is represented standing on a rocky oval base, before a short tree-stump with ivy
climbing up it. He is dressed in military uniform, consisting of a cocked hat, frock
coat, with the skirts buttoned back, confined by a sash at the waist, breeches, high top-
boots, and gloves ; he wears a long queue, and on his breast the star of an order. The
glaze is much discoloured, so as to appear of a greenish-brown tone in places where
it is thickly collected. M. 7J in.
This figure is very similar to, and probably inspired by, a painting by Johann Heinrich
Christian Franke, now in the Hohenzollern Museum, Berlin, from which many engravings
were made ; see Friedrich der Grosse in der Ktinst, pi. 18, p. 18.

§ 2. FIGURES OF ANIMALS AND BIRDS.

Nos. 697-705.

With the exception of Nos. 69S, 699 and 703, these pieces are painted
after nature, with varying degrees of fidelity, in enamel colours, generally
of subdued tone.

697. Lion, painted in colours. (Pl.\te 74.)

The lion is in a couchant attitude, on an oval plinth, which is decorated with scrolls in
crimson ; the hair of the lion is indicated by painting in reddish-brown, and details of the
mouth and claws in red and black. H. 3 in., L. jj in.

698. Cow, plain white. (Plate 74.)

The animal is represented lying down amongst flowers on a shaped base. H. 3! in.,
L. 5I in.

699. Go.xT, plain white.

A male goat, standing on a rocky base, shaped in front with rococo scrollwork. The glaze
shows slight discoloration. H. 3^ in., L. 3^ in.

PLYMOUTH. 127.

700. Sheep, painted in colours.

Lying down on a shaped base, coloured green on tlie top and moulded in front with rococo
scrollwork picked out in crimson. The fleece, face and hoofs of the animal are slightly
coloured in reddish-brown and black. H. 2} in., L. 3I in.

[701. Spaniel, Bow porcelain, see p. 15.]

702. H.\RE, painted in colours.

The hare is sitting up on its haunches with ears erect, on an oval base on which are applied
flowers and leaves painted in various colours. The fur is rendered by fine strokes in reddish-
brown, details of the head and claws in dark brown. H. 6} in., L. 5 in.

703. Phe.\s.\nt, plain white. (Plate 74.J

The bird is perched on a tree-trunk partially covered with the llowers of a climbing plant.

H. 8 in.
Exhibited in the Loan Collection at the Salisbury and South Wilts Museum, Salisbury, in 1872.

See Read, Porcelain Slatnettes, p. 11.
Journah, ii., illustration facing p. 434.

704. Pair of Figures of Pheasants, painted in colours.

Each is perched on a tree-stump, with applied flowers and leaves. The crest of the birds is red
and yellow, the back of the neck brown and blue, the breast and tail red, the back
yellow, the wings blue, brown and back. One of the pair is from the same model as
No. 703. Each, H. 8 in.

Chaffers, fig. 457.

705. Pair of Figures of Finches, painted in colours.

Both birds are from the same model. They are represented with head turned back, and the
left wing slightly raised, perched on a flowering tree-stump which rises from a shaped
stand, with rococo scrollwork on the front. Both birds are black on the crown of the
head. One has a bright red breast, yellow, red and purple wings, and purple and blue
tail ; the breast of the other is flecked with red and yellow, the wings are dull crimson,,
red and black, and the tail crimscm. The scrollwork on the stand of the first is
coloured in purple and green, on that of the second in dull crimson. H. 4J in., 4^ in.
respectively.

§3. VASES AND DECORATIVE PIECES.

Nos. 706-709.

These pieces are all painted in enamel colours, with the addition,
except in tlie case of Nos. 709 and 709^, of slight gilding.

706. Set of three Vases with Covers and two Beakeics. Mark, the sign for
tin, in gold. (Plate 76.)

These pieces take the most usual form of a Chinese ,i,'(inii'/iifc dc ilicmincc. The vases have
elongated, inverted, pear-shaped bodies, expanding at the base, and contracted at the neck,
varying considerably in the proportions of their members ; the covers are of domed form

128 PLYMOUTH.-

witli a wide flat rim and pointed knob. Tlie beakers are slender in shape, expanding at
the base and flaring more widely at the mouth. On each piece are scattered bouquets and
sprays of flowers, amongst which is seen a bunch of currants, all painted m natural
coloijrs ; a butterfly and a ladybird appear in the intervals on each piece. Round the
neck of' the vases and beneath the mouth of the beakers, below a narrow band ()f gilt
scrolls is a crimson line twined about with a stem of green foliage. A similar Ime and

_^ !-• 1- *1.„ — !,»„ ^f +V.« ,-,T,-r.rc Tirliir-V, ar*^ a 1 cn HpfnratpH with floml SOraVS. VaSCS.

scrolls, is a crimson Ime twmed about witn a stem oi green loiiage. ^i biuiiidi imc^ aim
Stem encircle the edge of the cnvrrs, which are also decorated with floral sprays. Vases,
H. ilj in., ii> in., ii in., diam. 5 in., 5! in., 4^ in. respectively ; beakers, H. 9 in., g^ '"-.
diam. 4i in.,'4Vii in. respectively.

Formerly in the Prideaux Collection.

Chaffers, fig. 456; Journals, ii., illustration facing p. 434; Mrs. Hodgson, [jI. 7.

707 Set of three V.\ses with Covers and two Beakers. Mark, on the vases and
one of the beakers, the sign for tin, in red; on the remaining beaker, a cross
hicised through the glaze (No. 53). (Plate 75.)

The forms of these pieces vary slightly from those of the garniture described above.. The vases
are of elongated ovoid shape, curving upwards from the shoulder to the narrow mouth ;
the covers are similar in form to those of No. 706. The beakers are nearly cylindrical,
flaring outwards at the base and rim. The vases and beakers are similarly painted with
a loose bouquet and detached sprays of flowers, amongst which are a butterfly and a
ladybird all in natural colours. The covers of the vases are also decorated with floral
sprays in colours. The shoulder of the vases, the upper part of the beakers, and the edge
of the covers are surrounded by a narrow band of formal ornament in gold. Vases,
H. qI in., io| in., ql in., diam. 4fV in., 4tV in., 4^ in. respectively; beakers, H. 7I in.,
7> in., diam. },}, in., 3t°5 in. respectively.

Formerly in the Prideaux Collection.

The difficulty of firing the porcelain at the Plymouth factory and its liability to distortion in
the kiln is indicated by the great divergence in shape and size between the pieces composing
this set, and by the fact that one of the covers was chipped before it was painted, and
was yet considered worth decorating, a leaf in green enamel being painted over the chip.

Burton, English Porcelain, pi. xviii ; Solon, pi. xvi.

708. Vase.

The form is intermediate between those of the vases in the sets 706 and 707. The greater
part of the surface is occupied by a landscape with trees and flowering shrubs, amongst
which are two exotic birds, the whole painted in rich colours. A butterfly and another
large insect are painted on the shoulder, below a band of scroll ornament in gold. The
base has also a formal border in gold. H. 8| in., diam. 4VV m.

This vase is painted by the same enameller as Nos. 726, 727 and 740: see note on No. 726.

Burlington Magazine, xxv., illustration, p. 105.

709. rouNcE-BOX from an inkstand.

In the form of a concave cylinder, painted with sprays of flowers in natural colours between
two formal borders in dull crimson. The top is pierced with small perforations.
H. 3fV in., diam. 3J in.

.\ similar piece in Bristol porcelain is reproduced by Owen, hg. jS.

709a. Ink-pot. Mark, the sign for tin in gold, now almost obliterated.

Similar in form to No. 709. The sides are painted with sprays of flowers in natural colours.
The top, which appears to have been similarly decorated, has been broken away.
H. 2j in., diam. 2| in.

PLYMOUTH. 129

§ 4. PIECES FOR DOMESTIC USE.

Nos. 710-727.

Willi the exception of Xo. 710, the following pieces are all decorated
with painting either under the glaze in blue, which is usually of dull
greyish tone, or over it in enamel colours, sometimes with the addition
of gilding.

710. Pair of Salt-cellars, plain white. (Pl.\te 74.)

K.ich is in the form of a large sliell resting on a heap of smaller shells and coral. H. j, in,,

2| in., W. 5 in., 4II in. respectively.
Formerly in the Prideaux Collection.

743. Sauce-boat, painted in colours, with slight gilding.

The body, which has a rim of irregular outline, is moulded on either side with rococo scrolls,
picked out in crimson, surrounding a shaped panel which in both cases is painted in
colours with a cock and a peacock amongst bushes ; gilding is added to the tail of
the latter bird. Below the curved lip is a bouquet in natural colours. The spreading
foot is moulded with scrollwork; the handle is of scrolled form, with an acanthus-leaf
at the top. H. 3^ Jn., L. 5I in.

Other pieces from the same mould are a pair of sauce-boats lent to the Museum by
Mr. Sidney T. Whiteford, which are inscribed in red under the base with the words
" .V- IV"- Cooktmrthy's Factory Plym' 1770," and another in the Museum (Xo. 3097-1901)
painted on either side with a single cock. .As has been suggested in the Catalogue of
the Museum of Practical Geology, 2nd edition, p. 165, the cocks on this piece and on
Xo. 743 may have reference to the crest of the Cookworthy family, a cock gules.

745. Salce-boat, moulded in relief and painted in colours in the Japanese style.

From the same mould as Xo. 743 (compare note thereon). Beneath and inside the lip and
in the panel on either side of the body is a spray of conventional flowers in Japanese
style, painted in red, green, yellow and blue. H. 3? in., L. 5^^ in

The style of decoration is similar to that of the tea-pot Xo. 718.

[711. Jug, Bristol porcelain, see p. 145.]

712. Mug, painted in underglaze blue in the Chinese style. Mark, the sign for tin,

in blue. (Plate 74.)

Inverted bell-shaped, with loop handle. Painted with a landscape in which are a pavilion
among rocks, pine-trees and bamboos, and with a formal border of cresting. H. 3' in.,
diam. 3J in.
Formerly in the Prideaux Collection.

757. Mug, painted in underglaze blue. On the front is the inscription: "Josiah &
Catharine Greethead. March 13 1769." (Plate 74.)

Inverted bell-shaped, with grooved loop handle. The inscription is flanked by two floral
sprays in Chinese style ; below it arc also two small stems of conventional flowers.
The rim is encircled with a narrow border of cresting. H. 42 in., diam. 3', in.

713. Mug, painted in colours and gilt, in imitation of Chinese porcelain of the

famillc verle. Mark, the sign for tin, in red (i\o. 52).

Inverted bell-shaped, with loop handle. Nound the body are four panels with cuspcd and
pointed tops painted in colours alternately with a fabulous Chinese monster, and with
X 1U2.VJ I

I30 PLYMOUTH.

a group of vases containing flowers on a low stand. The spandrels between the panels
are filled with floral ornament in red and green ; round the top is a border of cell-
pattern interrupted by compartments containing conventional flowers. The colours
employed are red, green, yellow, crimson and blue, with black outlines, all over the
glaze. H. &2 '"■' diam. 4^ in.

Tliis version of a Chinese pattern was probably derived from Worcester ; its use at that
factory is exemplified by a cup and saucer in the Museum (No. 4796-1858).

I'ormerly in the Prideaux Collection.

.Mrs. Hodgson, pi. 7.

714. Mug, painted in colours and gilt. Mark, the sign for tin, in red.

Of the same form as No. 713. Bouquets and sprays of flowers in natural colours are distri-
buted m-p.T the surface, a bunch of currants being introduced amongst them. Kound
the top is a narrow formal border in gold. H. 5I in., diam. 3I in.

Formerly in the Prideaux Collection.

715. Skt of seven Tk.ws with three Spoons, for dessert, painted in underglaze

blue of dark greyish tone. Mark on one of the trays, the sign for tin in

blue, indistinct. The set is accompanied by a polished wood circular stand.

The set should consist of six segmental trays, of wavy outline on the outer circumference,

litting together round a central hexagonal one. Two of the six trays are missing and

have been replaced by hexagonal trays doubtless obtained from other defective sets.

All the trays have high sides sloping outwards from a flat base and are painted round

the top outside with a narrow formal border. The sides of the four remaining

segmental trays are also painted externally with sprays of flowers. The spoons are of

a Chinese form, with petal-shaped bowl and long curved handle ; the handle is decorated

on the upper side near the end with a /JcuiiHs-blossom, in two cases impressed, in the

third applied in relief. Segmental trays, H. li- in., W. about 4I in.; hexagonal trays,

H. ij- in., W. about 4 in. ; spoons, L. about 4 in.; stand, H. ij in., diam. I2| in.

The similar set in Bristol porcelain (No. 751) shows the original composition of this set.

[716. Te.\-pot, Bristol porcelain, see p. 144.]

717. Tea-pot and Cover, painted in colours and gilt. Mark, the sign for tin,

in gold. (Plate 75.)

Bulbous body and domed cover both vertically reeded, ribbed loop handle, curved spout
repaired w'ith a silver tip. On either side of the body and on the cover are bouquets
of flowers in natural colours. Round the edge of the cover and the shoulder is a band of
interlaced scrolls in gold; the spout is also decorated with gilt scroll ornament. The
cover has a knob in the form of a strawberry with two leaves, coloured after nature.
The glaze is much discoloured and dotted with black specks. H. 3I in., diam. 4I in.

I'onnerly in the Prideaux Collection.

718. Tea-pot and Cover, painted in colours in the Japanese style. Mark, the sign

for tin, in red. (Plate 75.)

Globular body, with curved spout and ribbed loop handle; slightly domed cover with
cone-shaped knob. On either side of the body and on the cover is a group of conven-
tional flowering plants, with (except on the cover) a bird perched on a spray and two
insects hovering above ; these motives are painted in green, red, yellow, and blue enamel.
The edge of the cover and the shoulder are encircled by a narrow band of red chain-
pattern. H. 5I in., diam., 4^ in.

Compare the sauce-boat, No. 745.

[719. Tea-pot, Worcester porcelain, .sec p. 109.]
[720. Tea-pot, Bristol porcelain, sec p. 144.]

PLYMOUTH. 131

721. Tea-pot and Covkr, painted in colours in imitation of Chinese porcelain.
Mark, the sign for tin, in red.

Of the same form as N'o. 718. On eitlier side of the body is a Chinese figure (in one case
a man standing-, in the other a seated lady) between a high pedestal and a group of
jars. These accessories are repeated with a' flying bird on the cover, the edge of which,
as well as the shoulder of the pot, is decorated with cresting in red. The colours
employed are red, blue, green, yellow and crimson enamel. The spout has been broken
and repaired in silver. H. 5I in., diam. 4/,, in.

Formerly in the Prideaux Collection.

[722. CoFFEE-poT, Bristol porcelain, ,stv p. 144.]

723. B.\siN, painted in dark greyish underglaze blue, in the Chinese style. Mark, the

sign for tin accompanied by a cross, in blue (No. 55).

The basin, which is much misshapen and discoloured, has a flange round tlie rim for the

reception of a cover. It is painted outside with a group of flovj^ering plants and

bamboos. H. 2| in., diam. 4I in.
The mark from this specimen is reproduced by Owen (fig. 87, pp. 7q, 243), who regards the

piece as an early example of Bristol porcelain : also in Oxford, Catalni;ue, Trapnell

Collection, p. xx. See also note on N'o. 720, p. 144, and Church, p. 81.
Formerly in the Prideaux Collection.

724. Two Tea-cups and Saucers, painted in dark greyish underglaze blue. Mark,

the sign for tin in the same colour.

The cups are inverted bell-shaped and have no handle ; both cups and saucers have a wavy
edge, painted with a slight border of conventional floral devices. On the outside of the
cups and in the middle of the saucers are sprays of flowers of Chinese type. Cups,
each, H. 2f, in., diam. 3 in. : saucers, each, diam. 5 in.

Formerly in the Prideaux Collection.

725. Bowi., painted in colours in imitation of Chinese porcelain.

The bowl, which is slightly misshapen, has a scalloped rim, and is painted outside in brown,
red, crimson and green, with a flowering fruit-tree, the stem and spreading branches of
which are represented as passing beyond, and reappearing from above, the level of the
rim. Inside is a border of two red lines following tho scallops and, on the bottom, a
floral spray in crimson. H. 2-| in., diam. 5J in.

The design is taken from a Chine.se original ; see note on No. 725a below.

Formerly in the Prideaux Collection.

725a. Two Coffee-cups, painted in colours and gilt, in imitation of Chinese
porcelain.

The pattern on the outside is the same and painted in the same colours as that of the
basin. No. 273, with the addition of gilt outlines to the trunk and branclie.s of the tree,
and gilt bamboos growing beside it. The cups have each a loop handle. Each,
H. 2J in., diam. 2J in.

.\ cup of Chinese porcelain from which the design is taken (No. 725f) is described on p. 168.
A noticeable difference between the copies and the original is seen in the treatment of
the gilt bamboos which, on the Plymouth cups, resemble the mare's-tail {liqiiisetuin).

Formerly in the Prideaux Collection.

726. Two Coffee-cups, painted in colours and gilt. Mark on one, the sign fci tin, in

overglaze blue enamel.

On the front of each, in a shaped panel surrounded by gilt rococo scrollwork and foliage,
is a pair of exotic birds brilliantly coloured amongst trees in a landscape. Four similar
birds flying are distributed over the remaining surface, below a border of gilt scrolls
and trelliswork. Each, H. 2J in., diam. sj in.

1 2

132 PLYMOUTH.

I'orinerly in the Prideaux Collection.

'Ihe painting on tliese two cups and on i\o. 727 has been attributfd to Henry Bone, the
enamellcr, who was apprenticed to Richard Champion and his wife at Bristol in 1772
{see p. 134 below and Owen, p. 294), and appears to have served a short previous
apprenticeship under Cookworthy at Plymouth. The attribution must be abandoned in
view of the fact that, whereas the mark on the cups shows them to have been made
between 1768 and 1773, either at Plymouth or at Bristol under Cookworthy 's manage-
ment, Bone was born in 1755, and cannot be expected to have attained, before his
19th year, such skill in enamel-painting as is evinced by these cups and similar pieces.
The character of Bone's early work may be estimated from several Bristol pieces
(Nos. 753, 7O8, 770, 776) bearing the mark ascribed to him ; the style of painting upon
them is very different from that of these three cups. Other pieces painted by the
same enameller as the latter are a vase in the Collection (No. 708), apparently an early
piece e.\ecuted at Plymouth, the Bristol hexagonal vase (No. 740), and similar vases in
the British Museum (No. viii. 18), and elsewhere (figured in Owen's book), and a mug
in the V'ictoria and Albert Museum (No. 3093 — 1901), probably made at Plymouth,
formerly in the Museum of Practical Geology, to which it was given by Earl Moile\.
That this artist originally worked at Plymouth may be inferred from the fact that a
l)air of Plymouth sauceboats, lent to the Museum by Mr. Sidney T. Whiteford, decorated
with small exotic birds either by him or in imitatiim of his style, arc inscribed on the
base in red " M.'' W'"' Cookworthy's Factory Plym°. 1770." A Worcester plate in the
Museum (No. C. 173 — 1910) of about 1775, marked with a fretted square, is also painted
by the same enameller, and seems to show by its more advanced style that he passed
on to Worcester after working for a few years at Bristol ; other Worcester pieces painted
by him, a butter-dish with a dark blue ground, and a plate assigned to the period
177J-1780, are figured by Hobson, Worcester Porcelain, pi. ii., no. 3, and pi. Ix.xxviii.,
no. I. His style is a close imitation of that of the Sevres bird-painter Evans (compare
Nos. 3428-1853, 276, 277-1876 in the MuseumJ, and it is not unlikely that he is no
other than the French painter described by Prideaux (Relics of William Cookworthy) as
" an excellent painter and enameller from Sevres," and elsewhere variously named Saqui,
Soqui, or Lequoi, who is believed to have worked at Plymouth and Bristol. The
question is fully discussed in Burlington Magazine, xxv., p. 104 ; compare also Owen,
p. 89, and Jewitt, p. 331.

727. Coffee-cup, painted in colours. Mark, the sign for tin, in overglaze blue
enamel.

On the front are two exotic birds amongst trees 111 a landscape, painted en canKiieii, tlie
birds in blue enamel, the remainder in crimson. H. 2| in., diain. 2f in.

I'ormerly in the Prideaux Collection.

This cup is painted by the same hand as Nos. 708, 726, and 740, and lias been incorrectly
ascribed to the enameller Henry Bone ; compare note on No. 726.

Burton, English Porcelain, fig. 70; Burlington Magazine, xxv., illustration, p. 105.

VIII.— BRISTOL.

POIiCELAIX of some kind appears to have been made at Bristol
intermittently from the middle of the i8th century onwards for
more than thirty years. The earliest record is that by Dr. Pococke,
written in 1750, of a manufacturer "lately established" at " Lowris
china house." ' Certain pieces of soft porcelain, some of which, such as
No. 3151-1901 in the Museum, are marked with the name " Bristoll " in
relief, may be identified as productions of this factory ; two sauce-boats
in the Schreiber Collection (No. 87) belong to this group, and correspond
with a description given by Dr. Pococke.

.\ second factory, in which materials obtained from Cornwall were
employed, is spoken of as "set up here some time ago," in a letter dated
from Bristol in January, 1766," and was abandoned in 1765. VV^hether
this factory was a continuation of that mentioned above or a sepa-
rate undertaking is uncertain. A plate, dated 1753, with the initials of
John Brittan, afterwards foreman in the works of Champion hereafter
described, and a bowl, destroyed by fire in the Brussels Exhibition of
1910, with the initials of his brother Francis, both painted in blue, may
be associated with this factory, as well as an undated mug of similar
character in the Collection (No. no).

In 1770 a factory for making hard-paste porcelain, or true porcelain
of the Chinese type, was set up at Castle Green, Bristol, by William
Cookworthy & Co., in continuation of the establishment previouslv
carried on at Plymouth. ^ In 1773 the factory and entire patent rights
were purchased by Richard Champion, who appears to have been en-
gaged in the manufacture of porcelain on his own account as early as
1768, and to have managed Cookworthy's works from the time of their
removal from Plymouth. He employed John Brittan as his foreman.
In 1775 Champion secured an extension of the term of the patent, but
in 1 781 he was obliged on account of financial embarrassments to give
up the works, and to sell the patent to a company of Staffordshire
potters, who started works for the manufacture of hard-paste porcelain
at New Hall, Shelton.

1 Owen. p. 15*. ' Owen, p. 11. ' Compare p. 123.

134 BRISTOL.

The most characteristic productions of Clianipion's factory were tire
well-modelled statuettes, often made in sets, which are largely repre-
sented in the Collection. They are mostly inspired by, but not directly
copied from, the models of Meissen, and resemble the contemporary
Chelsea-Derby statuettes in the restraint of their colouring. The best
ligures are the work of a modeller who had previously worked at Bow
and Worcester and impressed his productions with the mark " T° " ; he is
generally assumed to be the " Mr. Tebo " employed by Josiah Wedgwood
in 1775.' Champion also made a few very fine and richly enamelled
vases, mostly hexagonal in form, similar to No. 740 in the Collection.
In the decoration of his "useful" wares, the influence of the pseudo-
classical style of the Louis XVI. period is predominant, and a green
enamel, often appearing in festoons of laurel, is a characteristic feature.
What is known as "cottage china," ^' intended for sale in country
markets, with simple decoration from which gold is absent, was also
made in considerable quantity. A speciality of Champion's factory
were the armorial and ornamental plaques in biscuit porcelain with
flowers finely modelled and applied in relief. ^ Printing in underglaze
blue, as on "No. 759, was never extensively practised at Bristol.

The mark sometimes found on the earliest Bristol porcelain is the
name " Bristol! " in relief. At Champion's works a cross in overglaze
enamel blue or gold was the most usual mark ;* on the exceptional pieces
decorated in underglaze blue^ this mark was also painted under the
glaze. A capital " B " in blue over the glaze, and the crossed swords
of Saxony under it in the same colour in imitation of Meissen porce-
lain, were also sometimes used. These marks were generally accom-
panied by a numeral in blue enamel or gold referring to the painter
who decorated the piece; the numbers i« and 2^ are believed to refer
respectively to Henry Bone, the miniature-painter (b. 1755, d. 1834), and
William Stephens (b. 1756, d. 1836), who were the first two apprentices
engaged by Champion.^ The Plymouth mark of the sign for tin was
used on Bristol porcelain made d\iring Cookworthy's proprietorship of
the works."

Certain pieces from the Prideaux Collection described below were
in the possession of relatives of William Cook worthy until they were
acquired by Lady Charlotte Schreiber.^*^

1 See pp. 5, 83, also Burlington Magazine, xxv., p. 108.
- Nos. 742 and 762 may be classed under this heading.
3 No. 739. * Nos. 746, 754, &c.

^ Nos. 748, 759. " Nos. 753, 768, 770, 777- ' ^!Pc'^^^" ■•■

Compare note on No. 726. '■> Compare note on No. 716. iee p. viu.

BRISTOL. 135

§ I. STArUETTES AND GROUPS.
Xos. 728-738.

The pieces are all painted in enani(>l colours and gilt, with t
exception of No. 733A, which has no gilding. On Nos. 732 and 73G
the enamel colouring is very slight.

728. Venus and Adonis, with Cupid. About 1770. (Pl.\te 77.)

Venus sits half reclining on a rocky bank, with a bouquet of flowers in her right hand and her
left arm resting on the shoulder of Adonis, towards whom her head is turned ; he sits by
lier side, offering her a basket of fiowers, which he places with his left hand on her lap.
.•\ larger basket containing flowers stands at his feet. Cupid, with his quiver slung, lies
naked beside the rock, tugging with his left fiand at a pink mantle, W'hich is thrown over
the rock and the left arm of Venus. The lower part of the body of the latter and her
limbs are covered with yellow-lined drapery, decorated with sprigs of flowers in colours
in circular medallions, surrounded by gilt wreaths and reserved on a bluish-green ground.
Drapery with lining of the same bluish-green and a pattern of gilt sprays on a dull crimson
ground is thrown over the knees of Adonis. The flesh of the figures is very slightly
tinted, the hair of Venus and Cupid being coloured reddish-brown, that of /Vdimis greyish-
brown. The group rests on an oblong base rounded at the corners and decorated in front
with symmetrical gilt scrollwork. H. 10} in., L. iif in.

This group is referred to in Journals, i., p. 253 (1874), as " the fine double group purchased of
Jacob some years ago."

Owen, fig. 46; Jewitt, fig. 748.

729. Set of i-our Figures of Children, emblematic of the Seasons. Mark, on

"Spring" and ". Autumn," "T°" impressed, said to be a mark of the modeller
Tebo. About 1775. (Plates 78, 79.)

Spring is represented as a girl wearing a white jacket and skirt figured with gilt flowers, the
former open in front, so as to show a laced mauve bodice ; she stands barefoot, in a
striding attitude, supporting a basket of flowers on her right hip, whilst in her left hand
she holds a bunch of flowers above her head, which is wreathed with a garland. Summer
is a bare-legged boy with gold-flowered white knee-breeches and white shirt open at the
chest, the sleeves being rolled up to the elbow. He stands cross-legged, with a wheat-sheaf
and sickle under his right arm and a few cars of wheat in his left hand, leaning his left
elbow on a tree trunk, beside which stands a bee-hive ; the boy's green-linod purple coat is
thrown over the latter, .\utumn is a girl standing barefoot beside a low rock, with a
basket of fruit supported by both hands on her left hip ; she wears a purple handkerchief
in her hair, a white gold-flowered dress with pink lining, confined by a blue belt, the skirt
being caught up so as to e.xpose a gold and white quilted petticoat. Winter is a boy
skating, with folded arms ; he wears a black hat wreathed with holly, a fur-trimmed white
jacket, yellow gloves, loose white knee-breeches with gilt floral pattern, white stockings and
black boots, and carries a dead rabbit and duck in a rush basket slung by a purple sash
over his left shoulder. The flesh of all the figures is very slightly tinted' ; each is sup-
ported on an irregular base coloured to imitate the ground. H. 11 in., loV in., lol in.,
io| in. respectively.

The figure of Spring was formerly in the collection of Lord .Vshburton at Uuckenhani, N'orfolk,
at the sale of which it was bought by Lady Charlotte Schreiber, February 24th, 1S69, being
described in the Sale Catalogue (Lot 37) as of Chelsea porcelain ; see Journals, i., p. 61,
" Edkins .... has lately acquired ... a magnificent set of the seasons, ' Spring " being
of the same model as the little figure we bought this year at Lord .'Vshburton's sale."

Spring, Burton, English Porcelain, fig. 61, Porcelain, pi. xlix ; Summer, Burton, F.nglish
Porcelain, fig. 62, Porcelain, pi. xlix ; Winter, Church, fig. 42. A similar set is figured by
Owen, pi. xi.

'36

I'.RISTOL.

730. Si;t or roUR Figures in classical dress, emblematic of tiie Seasons, from models
ascribed to Tebo. Modelled in 1772 or later. (I'L.Miis 79, 8o.j

Spring is represented by a woman wearing a small gilt tiara and a yellow-lined diapered scarf
thrown over a robe with a pattern of flowers in colours, confined by a girdle on which are
the zodiacal signs .»\ries, Taurus and Gemini. She holds up a bunch of (lowers in her left
hand ; at her feet are a plough and a basket of flowers. Summer is a young man clad only
in yellow-lined flowered drapery secured by a band passing over his shoulder on which are
the signs Cancer, Leo and Virgo ; he holds a pair of shears in his right hand with which he
is about to shear a ram lying with its legs bound on a green mound, beside which is a keg.
Autumn is a woman with a sickle and ears of corn (both broken away) in her hands and an
overturned basket of fruit at lier feet ; she wears a pink-lined mantle over a loose robe, botli
diapered with flowers in colours and gold, a belt with the signs Libra, Scorpio and
Sagittarius, and purple sandals. Winter is a bearded man, slightly stooping, with a faggot
under his left arm, his right hand leaning on a crutch, the staff of which is missing. He is
wrapped in a yellow-lined flowered mantle, covering his head, over a tunic similarly
flowered, loose white trousers, and black shoes. Round his waist is a girdle with the signs
Capricornus, .\quarius and Pisces. All four figures stand on an irregularly-shaped base
coloured to imitate the ground ; the flesh is tinted. H. 9J in., cjj in., lo- in., gl in.
respectively.

In another set, described in O.xford, Catalogue, Trapnell Collection, p. 19, Xos. 1G6 -Q, the figure
of Winter bears the impressed mark " T"," ascribed to Tebo. A similar mark is seen
on a jug in the Schreiber Collection (No. 711), wliicli has the head of Winter applied
below the lip ; sec note thereon. In the autograph letter from Champion to the modeller
of these figures cited in the note to Ko. 731 below, the following passage gives instructions
as to the design of this set of the Seasons: —

" The Seasons.

" Spring, a Nymph with a Coronet of PTow'rs on her head in flowing Robes rather flying
behind her, approaching with a smiling countenance as she advances the flow'rs appear
to start up before her those at her feet higher those at a distance, which seems to be
just Budding out, on the side after a Plough or Harrow, which she points to with
one Hand, & with the other holds a small open Baskett fiU'd with Seeds which she
offers, from the Baskett falls a kind of Zone or Belt, on which are represented, the sign
of the Zodiac Aries Taurus Germines.

"Summer. A Man in the Prime of Life, loosely drap'd with a Belt round his Body, on
which are represented the Signs of the Zodiac Cancer Leo Virgo .\ P' of Shears (made
use of in shearing Sheep) in one hand, & with the other supports a Baskett of wool
on his Shoulders, on the Ground a Scythe with Trusses of Hay schatter'd about.

" Autumn. A Matron with a kind of Coronet, on her head from whence Spring Ears of
Corn, Her robes not so flow {sic) as Spring being of a graver Cast, in one Hand a
Sickle, she leans on a Thyrsis round which are twin'd Baskett of grapes, & a Zone
or Belt falling from it, on which are represented the three signs of y' Zodiac, Libra,
Scorpio, Sagittarius, the grounds she treads on full of Corn, & on a side of her a Baskett
of fruit overturn'd.

'• Winter. A Descriped old Man his head bald & a long Beard leaning a Staff under one
arm a Bundle of sticks, his robe schatted(?J & clasp'd with a Belt, on which are
represented The three signs of the Zodiac, Capricorn, .■\quarius, Pisces, the ground
cover'd with bare branches of Trees, Frost & Snow & Icicles hanging down in
different Places."

Formerly in the collection of Mrs. Haliburton, of whom they were bought by Lady Charlotte
Schreiber, November 13th, 1869; see Journals, i., p. 63, "Then we went down to
Richmond and spent 2 pleasant hours with Mrs. Haliburton . . . . We brought
away with us her set of Bristol seasons each bearing some of the Zodiacal signs, beauti-
fully modelled and executed .... Price £28."

Owen, pi. x; Burton, English Porcelain, fig. Go; Dillon, 1404, pi. xlviii ; Journals, i, illustration
facing p. 62.

I3RISTOL. 137

731. SiiT OF i-ouR Figures, emblematic of the Elements. Mark on each, " T" "
impressed, said to be a mark of the modeller Tebo. Modelled in 1772 or
later. (Plate 77.)

Eartli is represented as a young husbandman in a short dark brown ch>ak thrown back from
his shoulders over a sleeveless flowered tunic and purjjle sandals, standing; beside a
tree-stump with his left foot raised on the blade of a spade, on the handle of which he
rests both his hands; at his feet is an overturned basket of fruit and vegetables, with
a rake and a hoe. .Air is a winged youthful male figure in loose diapered drapery with
green and purple lining, flying amongst clouds, with a windmill, the sails of which arc
missing, raised in his right hand: the head of a blowing cupid, to sjmboiise wind,
appears amongst the clouds at his feet. I'ire is a bearded m.'jn in the guise of Vulcan
with a flowered scarf thrown loosely round his naked body, in the act of forging a
thunderbolt on an anvil. Both arms are raised to swing a hammer (now missing) ; at
his feet is a breast-plate with lion"s-head shoulder-piece. Water is a woman with a
wreath of rushes and a flowered mantle wrapped about her. She stands on a shell-
shaped base, holding up a net full of fish in her right hand, whilst her left rests on
the rim of an overturned urn from which water is flowing ; three fish lie on the base
at her feet. The flesh of all the figures is very slightly tinted, except that of " Water,"
which is more fully coloured. H. 10 in., io| in., loj in., gj in. respectively.

A reproduction of an autograph letter from Champion to the modeller of these figures, dated
"27 feb. 1772," giving instructions as to their design, is published in Owen (facsimile
No. 4); the following passage refers to the figures: "As 1 have an Inclination to
fancys of this kind, I chose to write you as wish to have some elegant Designs. I
have seen the four Elements which are made at Derby they are very Beautiful! the
dress easy, the forms fine, two in particular, .Mr & Water and the charming figures.
I apprehend that you made y models & therefore hope that from your e.vecution the
following fancies will not look amiss.

" The Ele.ments.

■' Fire. A vulcan forging a Thunderbolt in the attitude of striking with his anvil &
Hammer, some pieces of Iron or coats or anything peculiar to a Blacksmith's Shop to
be scatter'd about.

"Water. A Naiad crown'd with rushes, leaning with her arm on an uni from whence gushes
out water. In the other had (sic) she holds a fishing Net, with Fishes enclos'd in it.
the ground ornamented with rushes, shells, Fish or the Fancies peculiar to water.

"Earth. .-Vn Husbandman digging with a spade a Baskett fiU'd with Implements of
Husbandry en y Ground. The ground ornamented, with corn, acorns or Fruits.

" .\ir. A winged 2Cephyr crown'd with Flow'rs treding on clouds, which rise naturally
about him, his robes flowing & flying behind him he holds in one Hand a Branch of
a Tree, if any ornaments behind are wanting, some Cherubim's heads blowing would
not be amiss ....

"All these figures to be about 10 Inches high after having seen the Derby Figures, I did
not recommend Ease & Elegance in the shaped dress, but the Latter I shall just
mention as the antique Robes, are very easy and have a Propriety which is not to
be met with in foreign Dresses, & as these figures are of a serious Cast I think such
dresses will carry with them a greater Elegance, I shall be oblig'd to you to carry the
designs into execution as soon as possible."

Two of the figures were bought at Metz, March 29th, 1874, s« /ou(i;a/s, '■• P- -64, " M. Bertol
came to return our visit. We had set out some of our best acquisitions to show him,
and he fell in love with the two Chelsea figures, boy and girl with cock and hen . . .
So we proposed an exchange with him for his Bristol 'T°' figures, which he persists
in calling Tournai, and 'incderne.' To this he accfded after making many pro-
testations that we were making ' une tttauvaise affaire,' which we (old him by no
means to consider as we were perfectly content. ... He promised to send his servant
with the said figures in the course of the afternoon ; we concluded that he meant we
should have them all three, but when the servant came he brought only the two

138 BRISTOL.

male figures Earth rmd Firr. Tliis lid to a liule explanation . . . M. Bertol gave
us tlie oiler of breaking ult the bargain, and we proposed a still further exchange for
the third figure, but he said he wished to keep one specimen of Tournai, so there was
nothing more to be said, and it was a great relief to us when the servant came back
in the last place, with the beautiful figure of Water, saying it was indifferent to
M. liertol which two we kept out of the lot, so that he kept his one specimen, so it
ended in hire and Water remaining with us."
Burton, English Porcelain, fig. 59.

732. K.VRTH, one of a set emblematical of the Four Elements, from a model, .-iscribed to

Tebo, dating from 1772 or later.

The figure is from the same model as that in the set described above (No. 731); it is left
undecorated, with the exception that the eyes, eyebrows and nostrils are picked out iu
black and the lips in red, whilst the tunic has a pattern of small gold spots and gold
lines round the edges. H. lOg in.

733. I'.MR OF Figures. A shepherd and shepherdess. About 1775. (Plate 77.)

Both figures stand on a high base, moulded with rococo scrollwork, with applied flowers in
relief on the top. The shepherd, a youth wearing a black hat with red ribbon, a dull
pink coat over a flowered white waistcoat, striped knee-breeches, white stockings, and red-
laced black shoes, is in a striding attitude, playing a bagpipe ; at his side is a tree-stump.
The shepherdess is dressed in a blue hat with flowers below the brim, a green bodice
with short sleeves, red borders and blue insertion in the front, white skirt decorated with
n iloured bouquets of flowers, and pink shoes with red bows. She holds a bunch of flowers
in her left hand and a crook in her right. The flesh of both figures is left white. The
dress of the shepherd and the pedestal on which he stands are enriched with gilding.
The companion figure is devoid of gilding. H. iij in., I2j in. respectively.

Chaffers, figs. 459, 460; Solon, pi. xviii.

734. Go.\THERD holding a kid, from a model ascribed to Tebo. About 1775.

(Plate 81.)

Standing figure of a youth leaning against a stile on a g:rassy bank, and looking down at
a kid held under his right arm. He wears a wide-brimmed black hat, into the ribbon
of which is stuck a clay pipe, a long pale mauve coat over a flowered waistcoat, which
is confined by a belt at the waist and left unbuttoned so as to expose a white shirt
open at the neck, yellow knee-breeches, white stockings, and brown gaiters over black
shoes. A wicker-covered flask rests against the mound at his feet. The base, roughly
square, is coloured to imitate the ground. The flesh is slightly tinted ; a crook is
missing from the left hand. H. loj in.

Another figure from the same model, with a companion figure of a milkmaid, bearing the
mark " T° " impressed, is reproduced in Owen, fig. 54.

735. Paii? of Figures. A shepherd and shepherdess. About 1775. (Plate 73.)

The shepherd, a bare-legged youth in a striding attitude, with a brightly-coloured bird held
out in his left hand and his right resting on a tree-stump, wears a black hat, a yellow-
lined pink coat over a white shirt, and knee-breeches diapered with sprays of flowers in
colours; a dog sits at his feet. The shepherdess, also barefoot, leans against a tree-
trunk with her head turned to the right and her left hand raised in a gesture of
surprise. She is dressed in a blue and red hat, a white bodice, gold-laced in front, and
a w-hite petticoat with a pattern of gold flowers under a white skirt, which she catches
up with her right hand to support a lapful of flowers. A lamb stands beside her. The
flesh of both figures is warmly coloured ; each stands on a square base painted with
leafy scrolls in dull crimson. H. 6} in., 7 in. respectively.

Bought at Rotterdam, with Kos. 736 and 738, March 13th, 1S74, see Joufiiah, i., p. 252,
"On reaching our Hotel we found we had just missed de Maan .... He came, however,
the following morning before I was out of my room. C. S. went down to see him, and
presently ran joyfully back to me bringing what de Maan was offering for sale. What
was my astonishment and delight when he displayed before my bewildered eyes no less

BRISTOL. 139

tlian 5 beautiful Bristol figures ! viz., the boy with hurdy-gurdy, a girl dancing with
triangle, the girl with dog, and a boy and girl of a model we had never seen before,
he holding a bird and she some flowers. The price was not very small for Chelsea,
which de Maan considered them to be, but it was little enough for Bristol, which they
really were, and we gladly gave him the (,12 to which, after a little parleying, he came."

736. Shepherdess. About 1770.

Standing ligure in wide hat, gold-laced bodice diapered with small gold (lowers, and gold-
spotted skirt open in front to show a petticoat, also decorated in gold with small sprigs.
With her left hand she holds up her apron full of flowers; a bunch of them is in her
right hand. At her feet on the irregularly-shaped base is a lamb lying down. The
figure is without colour, except for the eyes and mouth, which are indicated in black and
red, and slight red tinting on the cheeks. H. 6| in.

Bought at Rotterdam, .March 13th, 1874 ; ice note on No. 735.

737. r.viR OF Figures. k bov and girl, each with a dog. Mark on the former,

"T"" impressed, said to be a mark of the modeller Tebo. .About 1775.
(Pl.\te 81.)

Both figures stand beside a dog, which is supported on a rocky pedestal, rising from a base
of irregular form. The boy is placing his black hat on the head of the dog with his
right hand, turning his head away in the opposite direction ; he wears a white jacket
over a white lace-bordered shirt, white knee-breeches with a pattern of gilt flowers, white
stockings and black shoes with purple rosettes. The girl has her left arm round the neck
of her dog and holds his paws with her right hand. She is dressed in a white jacket
and skirt ornamented with gilt scrollwork and green cuIFs, a pink ribbon over her left
shoulder, and blue shoes with red bows ; her hair is decked with red plumes and a gold
pendant hangs round her neck. The flesh of the girl is tinted, that of the boy left
uncoloured. H. 71 in., 7I in. respectively.

738. P.MR OF Figures. A boy and girl playing a hurdy-gurdy and a triangle

respectively. Mark on the former, "T°" impressed (No. 56), said to be a mark
of the modeller Tebo. About 1735. (Plate 8i.)

The boy is in a running attitude, with the hurdy-gurdy, which has a pattern of black scroll-
work, strung by a blue band from his right shoulder. He is clothed in a blue plumed
hat with red ribbon, white coat, waistcoat, knee-breeches and stockings (the breeches
figured with floral spravs in gold), and brown shoes with red rosettes. The girl dances
whilst she holds the triangle above her left shoulder ; she wears red plumes in her hair,
a crimson sash, and light blue shoes with red bows, the remainder of her dress, con-
sisting of a kerchief on her shoulders, a laced bodice, and skirt caught back over a
petticoat, being white, with details and, in the petticoat, flowers in gold. Both figures
are supported by a tree-stump on an irregular base coloured to imitate the ground ; the
flesh of both is slightly tinted. H. 7I in., 'i\ in. respectively.

Bought at Rotterdam, March 13th, 1874; see note on No. 735.

Church, figs. 43, 44; Burton, English Porcelain, fig. 62, Porcelain, pi. xlix.

sj 2. VASES AND DECORATIVE PIECES.

Nos. 739-741.

No. 739 is an example of uiiglazed biscuit porcelain. The other two
pieces are glazed, No. 740 being decorated in enamel colours and gold.

739. Plaque, white biscuit porcelain with a bas-relief of a vase decorated with a

festoon of flowers delicately modelled in full relief. About 1775. (Plate Si.)

The plaque oval. The vase takes the form of a classical urn with domed cover surmounted

by a cone-shaped finial, rim moulded with acanthus-foliage above a narrow band of

i^o I'.RISTOL.

guilloclie pattern, and high foliated foot rising from a square plinth, which rests on a
mass modelled to imitate a rock. The lower part of the body of the vase is fluted ;
the festoon of flowers passes through two rings hanging from the rim. The plaque is
mounted in a glazed turned-wood frame with gilt hollow. Frame, H. <) in., W. 8 in.
Formerly in the Edkins Collection. Presented to Lady Charlotte Schreiber by Mr. William
Kdkins, June loth, 1884, see Journals, ii., p. 426, "1 had a visit from Mr. ICdkins, who
• presented me with a Medallion of Bristol Biscuit, representing a vase, which is to
accompany my collection to the South Kensington." An old paper label attached to
the back of the plaque is inscribed in ink "This is Hannahs"; it may be conjectured
that this refers to the authoress Hannah More, who was a friend of Richard Champion's
sister Sarah (compare Owen, p. 105}. A biscuit plaque of this character was modelled
by Thomas Briand (Owen, p. 87), but there is no evidence to show that all such plaques
are from his hand.

740. V'asf and Cover, painted in colours and gilt. About 1770. (Pl.\te 82.)

Hexagonal body, the sides sloping gradually outwards from the b.ise to the shoulder and
then curving in to the short vertical neck : domed cover also he.vagonal, w-ith projecting
rim and knob in the form of a conventional pine-apple, coloured purple, with green
foliage. The sides of both body and cover are separated from one another by narrow
gilt lines twined about with gilt stems and tendrils; similar lines and stems run round
the base. The panels thus formed are painted with brillianlly-plumaged exotic birds,
standing alone or with others in flight above them, amongst trees in wooded land-
scapes. .-\ similar bird — flying and holding, in every case but one, a branch in its beak
or claws— occupies each of the compartments on the cover. Round the edge of the
cover and immediately below the springing of the neck is a border of richly gilt trellis
diaper, edged with rococo scrolls. H. 15I in., diam. 6| in.

Bought in London, December 22nd, 1879, see Journals, ii., pp. 252, 253, "Called at. . . .
Samuel's, where we saw a magnificent Bristol vase .... after some negotiation, it
ended in our buying the Bristol vase for /^75. " The vase is painted by the same
enameller as Nos. 708, 726, and 727 ; for a discussion of his work, see note on No. 726.

.\ suggestion tliat vases of this class may have been made at Plymouth is shown to be
improbable by Jewitt, Ceramic Art, p. 386.

Church, fig. 43 ; Gibb and Rackham, pi. 28 : Burlington Magazine, xxv., illustration, p. 105.

741. Vase, probably intended for a pastille-burner, plain white. About 1780.

The body is in the shape of a hemispherical bowl, with top partially covered in by a
concave fluted shoulder and flange for a cover, which is missing : round the upper part
of the bowl is a border of guilloche ornament in relief, interrupted by three small pro-
jecting lips of foliated form. The bowl is supported by a central baluster and by three
griflins, sitting erect with outspread wings on a high triangular plinth with incurved
sides, which are decorated with rams' masks and festoons of foliage in relief between
two echinus mouldings. H. 7J in., W. 55 in.

Dillon, 1904, pi. xlix., 1910, fig. 302 ; Chaffers, fig. 466.

§ 3. PIECES FOR DOMESTIC USE.
Nos. Sj, no, 742-780.

These pieces are variously decorated, as specified in the description
of each ; the painting is in overglaze enamel colours, except in the
case of pieces decorated in blue onl}', in which it is under the glaze.

87. Pair of S.\uce-boats, soft-paste porcelain, moulded in relief and gilt. About
1750. (Plate 83.)

Both have an oval body, with wave-like projections on the rim and long pointed lip,
elaborately-scrolled loop handle with a small mask in relief near the upper attachment

BRISTOL. 141

and spreading high foot. They are decorated outside with festoons of flowers in relief
cm the body, enclosing large lioral sprays in gold, and inside with a gilt spray on the
bottom and a formal gilt border; the foot has flowers in relief and a border of gilt
cresting. H. 5J in., jj in., L. 9I in., 8| in. respectively.
Made at " Lowris China House." Dr. Pococke states that "They make very beautiful while
sauce boats, adorned with reliefs of festoons, which sell for si.vteen shillings a pair " :
see Owen, p. 16*. The shape may be compared with that of a sauce-boat marked
"Bristoir'' in the British Museum (Hobson, Ciitalogue, fig. 79).

110. Mug, painted in underglaze blue, with equestrian figures copied from an
engraving (pi. 33) in The Ladies' Amusement {see p. 2) after a drawing by
R. Walker. About 1760. (Pl.\te 83.)

Xeailv cylindrical, with loop handle. The riders, a lady and gentleman, are set in a landscape
with a ruined building. On the handle are sprays of flowers and a butterfly. H. jj in.,
(iiam. 48 in.

This mug, formerlv attributed to Bow, is conjecturally assigned to Bristol. 1 he paste
shows none of' the characteristics of Bow porcelain; though not true hard paste, it is
harder than that of Bow porcelain and quite opaque, though granular in composition.
It differs bv its opacity from that of the earliest Bristol porcelain, e.,i;., the sauce-boats,
Xo. 87. The glaze is uneven and crazed, and has caused the painting, thickly laid on
in a brilliant blue, to run. When allowance is made for the blurred effect thus produced
the painting resembles the work on Bristol delft ware of a painter named Bowen, whose
signature with the date J 761 is cited by Owen (p. 337; compare also fig. 124). In other
respects the mug seems to resemble a (lorcelain bowl made at Bristol for rrancis
Brittan and dated 1762, which is described by Owen (p. 14) as follows: "Mr. Kite of
Devizes has a fine hard porcelain bowl bearing the initials of an ancestor of his, I'rancis
Brittan, and the date |an» g, 1762. The tradition is, that 'it was made by a near
relative who had some connection with a manufactory of pottery at Bristol.' The
name of John Britain will be found frequently mentioned ... as Champion's
foreman, and he was doubtless the ' relative ' indicated. The bowl bears evidence of
being a very early attempt at porcelain making. It is heavy in structure and imperfect
in glaze. The painting— blue under the glaze- though brighter in tint than any
Plymouth ware, is rude and inartistic and the colour is ' run ' and blotty. IBeneath a
Chinese landscape inside the bowl is the 'Blacksmith's Anns' . . . Mr. !■". Brittan
was an ironmonger." This bowl was destroyed in the fire at the British Section of the
Brussels Exhibition in iqio. Reference is also made to it by Nightingale (p. Ixxxiv),
who describes a plate of similar character bearing the date 1753, the initials of John
Brittan, and decoration "of Chinese figures somewhat roughly painted in blue, with
.some running of the colour into the glaze."

Mew, pi. xi.

742. S.vuci-:-Ro.\T, moulded in relief and painted in colours. About 1770.

Oval, with loop handle and projecting lii). On either side is a different group of conventional
fruit and nuts below a band of rococo ornament, all in relief. Beneath the lip is a
bouquet of flowers in natural colours below scrolls in crimson ; similar flowers are
scattered over the remaining surface. H. 2 in., I,. 4! in.

[743. S.vucE-iiOAT, Plymouth porcelain, see 129.)

744. P.MR oi- S.\ucE-DOATS, moulded in relief and painted in colours. .About 1770.
(Plate 81.)

Both have a wavy rim, curved projecting lip, and scrolled loop handle, and are moulded on
either side with a group of flowers flanked by rococo scrollwork. The flowers arc
painted in natural colours. Each. H. 3 in., E. 7! in,
Erom the same model as sauce-boats of Worcester porcelain (So. 496) and Staffordshire
salt-glazed stoneware (Xos. 891 and 897J in the Collection.

[745. Sauce-boat, Plymouth porcelain, sec p. 129.]

142 BRISTOL.

746. Pair of Sauce-boats, moulded in relief and painted in colours. Mark, on both,

a cross in overglaze blue enamel. About 1770. (Plate 81.)

Both are of oval form, with curved projecting lip and loop handle moulded with foliage
and bead ornament. On either side is a festoon of flowers in relief, enclosing a bouquet
and sprays painted in natural colours; floral sprays are ;dso painted beneath the lip and
handle. H. 3j in., 3^ in., L. 6J in., 6J in. respectively.

747. Salt-cellar, painted in colours. About 1775.

In the form of a conventional shell resting on three small feet each in the shape of a ball

held by four claws. The rim of the shell is tinted in crimson, and the inside is

decorated with a bouquet and sprays of flowers in natural colours. H. 2J in., L. jj in.

Chaffers, fig. 466.

748. Pair of Strainers, painted in underglaze blue in the Chinese style. Mark on

each, a cross in the same colour. About 1775.

Circular. The middle is painted with a spray of conventional peony-flowers and the narrow
rim with trellis-diaper. The perforations are arranged in eight radial, lines. Each,
diam. 4 in.

749. Dessert-dish, plain white porcelain. About 1770.

In the form of an oval basket with low openwork sides imitating looped wickerwork and
overlaid at either end with vine leaves in relief, the stem forming a handle. The base is
strengthened underneath by a serpentine ridge forming a support. H. 2j in., L. lOfV i"->
W. 7; in.

Of the same model as two Worcester dishes (No. 503) and another of Staffordshire salt-
glazed stoneware (No. 919) in the Collection.

750. Dish, painted in colours and gilt. Mark, a cross in overglaze blue enamel.

About 1775.

Oval, with high lobed rim and wavy edge. The rim is decorated with two gilt horizontal
bands connected by two intertwined ribbons, coloured blue and purple in imitation of silk,
in the interspaces of which are gilt rosettes. From the inner gilt line depend festoons
of flowers in natural colours ; a bouquet and detached sprays similarly painted are
scattered over the middle of the dish. The base is strengthened with a support similar
to that of \o. 749. H. 2^ in., L. iif in., W. Qj in.

Chaffers, fig. 466. .\ dish of similar style is reproduced in Owen, pi. vii.

751. Sft of seven Trays, for dessert, painted in colours. The set is accompanied

by a polished wood circular stand. About 1770.

The set consists of six segmental trays, of wavy outline on the outer circumference, fitting
together round a central hexagonal one. All the trays have high sides sloping outwards
from a flat base, and are painted inside and outside with slight formal borders of
varying design in crimson. The sides are decorated externally with scattered sprays of
flowers and detached leaves in natural colours; inside on the bottom of each is a single
sprig. Segmental trays, H. 1} in., W. about 4I in. ; hexagonal tray, H. i\ in., W. 4; in. ;
stand, H. i' in., diam. 12J in.

Compare with the set in Plymouth porcelain (\'o. 713).

752. Pair of Vases, plain white, moulded in relief. .About 1770.

Each is of four-lobed bulbous form, oval in section, with a wide mouth. On either side
is a sheaf of conventional leaves, at either end a shell, and round the mouth and base
are borders of acanthus-foliage, all moulded in relief. Each, H. 2J in., L. 3J in.

Formerly in the Prideaux Collection ; sec p. viii.

BRISTOL. 143

753. Plate, painted in colours and gilt, Mark, a cross and i (No. 57), said to be the

mark of the enameller, Henry Bone, in overglaze blue enamel. About 1775.
(Plate 81.)

In the middle are exotic birds among bushes ; the rim is painted witli insects and sprays of
flowers in natural colours, and has a gilt wavy edge. The base is strengthened under-
neath by a ring in relief surrounding the mark. Diam. 8j in.

This plate is similar to the Bow plate (No. 70), and was evidently made to match the set
to which it belonged.

.■\ similar piece is reproduced in Owen, fig. 6S.

754. Two Plates, painted in colours and gilt. Mark on each, a cross in overglaze

blue enamel i_No. 58). About 1775. (Plate 85.)

The pattern is the same as that of the dish Xo. 750. The rim of both plates has a gilt

lobed edge, and both are strengthened beneath the base by a ring in relief surrounding the

mark. Each, diam. 8 in.
Compare note on No. 750.

755. Two Plates, painted in colours and gilt. Mark, 6., in gold. About 1780.

(Plate Si.)

Both are saucer-shaped and have a ring in relief beneath the base, within the foot ring. They
are decorated with scattered sprays of flowers in natural colours within a band of formal
zigzag pattern in crimson twined about with a wavy stem of green foliage. Each,
diam. 7J in.

756. Chocolate-pot, painted in colours and gilt. About 1770.

Inverted pear-shaped body merging by a curve into the wide neck, projecting lip moulded
w^ith foliations coloured green and purple, loop handle in the form of a bent twig. The
decoration consists of small bouquets and sprigs of flowers in natural colours scattered
over the surface. H. 6a in., diam. 4$ in.

[757. Mlg, Plymouth porcelain, see p. 129.]

758. Ml-g, painted in colours. Mark, a cross in overglaze greyish-blue enamel.

About 1770.

Inverted bell-shaped, with ribbed loop handle. .\ small bouquet and detached sprigs of
flowers and foliage in natural colours are scattered over the surface. Below the rim is a
wreath of laurel in green. II. (>\ in., diam. 4! in.

759. Mur,, printed in underglaze blue. Mark, a cross in overglaze blue enamel.

.•\bout 1775.

Cylindrical, with ribbed loop handle. The same group of peony, prunus, and other flowers in
the Chinese stvle is printed on either side; round the top and base are borders in
Chinese style of floral and diaper ornament and cell-pattern respectively. H. 3! in.,
diam. 2| in.

760. Tea-pot with Cover and Stand, painted in colours and gilt. About 1775.

(Pl.\te 81.)

The tea-pot has an inverted pear-shaped body, curved spout with gilt foliage in relief on the
top, and wavy ribbed loop handle, also decorated with gilt foliage. The domed cover
has' a knob ' in the form of an applied flower and leaf, painted in colours. The
hexagonal stand has a scalloped slanting rim. .Ml three pieces are decorated with
bouquets and scattered sprays of flowers in natural colours. Tea-pot, H. fij in., diam.
5 in. ; stand, diam. 6i in.

761. Tea-i>ot and Cover, painted in colours and gilt. Mark, a cross in dull over-

glaze blue enamel and 6 in yellow (No. 59). About 1775. (Pl.\te 81.)

Barrel-shaped body with curved spout gadrooned at its lower extremity and scrolled loop
handle decorated with gilt husk-pattern in relief; slightly convex cover with knob in the
form of a gilt bud. The upper part of the body is moulded with a band of wickerwork

144 BRISTOL.

pattern, from which hang festoons of roses painted in natural colours ; a similar band of
wickcrwork forms the border of the cover, enclosing a wreath of roses in colours. Sprigs
of similar roses are strewn over the remainder of the surface. The spout is garlanded at its
springing with a wreath of laurel-leaves in relief, painted green. 11. 5', in., diam. 4^ in.
Chaffers, lig. 466.

762. Tea-pot and Cover, painted in colours. Mark, 14 in crimson (No. 60.)
About 1780.

Globular botly, curved foliated spout, loop handle in the form of a bent twig, slightly di.mcci
cover with cone-shaijed knob. On either side of the body is a loose bunch of flowers in
natural colours; detached sprays arc painted on the cover. 11. 4} in., diam. 3} in.

716. Tea-1'ot and Cover, painted in colours and gilt. Mark, the sign for tin, in
gold (No. 54). About 1770. (Plate 84.)

Globular body with short cylindrical neck, curved spout of decagonal section, and ribbed loop
handle, domed cover surmounted by a knob in the form of a conventional pine-apple. The
ground of the body and cover is painted in blue enamel veined in darker blue in imitation
of marble. On this ground are reserved a band of gilt cresting round the cover, the
shoulder and the base, and, on either side of the body and cover, a large white panel
bordered with rich gilt rococo scrollwork and painted with a festoon of flowers and fruit in
natural colours. The spout is decorated with a spray of similar flowers and the handle
with gilt scrolls. H. gj in., diam. 6| in.

The question of the origin of this tea-pot and of the coffee-pot (No. 722) with the same
decoration is fully discussed by Owen (p. 79) and Church (p. 79). It is the opinion of
these authors that, although marked with the Plymouth mark, they were not made
until after the transference of Cookworthy's factory from Plymouth to Bristol ; the basin.
No. 723, bearing the usual Plymouth and Bristol marks combined, is cited in support of this
view, and it mav be noted that the cover of this tea-pot has a knob similar to that of
the Bristol vase (No. 740). On the other hand, the flower-painting on this and similar
pieces (Nos. 720, 722) closely resembles that of a garniture of vases (No. 706) which is
generally ascribed without question to Plymouth ; compare, however, note on No. 720.

Formerly in the Prideaux Collection.

Church, fig. 47 ; Solon, fig. 57.

720. Tea-pot and Cover, painted in colours and gilt. Mark, the sign for tin, in
gold. About 1770.

Globular body with sliort cvlindrical neck, curved spout and ribbed loop handle, slightly
domed cover with cone-shaped knob. The ground of the body and cover is covered
with mottled maroon- coloured enamel; on this is reserved, on either side of both body
and cover, a shaped panel bordered with richly-gilt rococo scrollwork and painted with
a festoon of flowers in natural colours. A small spray is painted underneath the spout.
H. 5f in., diam. 4J in.

.\ similar tea-pot formerlv in the Trapnell Collection (compare Oxford, CataIoi;ue, p. 52,
No. 417) came from "the Britain Collection, in which it was preserved "as a relic of
Champion's manufacture from the Castle Green works." It is probable, however, that
this and the other pieces of like character were made either at Plymouth or at Bristol
during Cookworthy's management; see note on No. 716.

Formerly in the Prideaux Collection.

722. Coffee-pot and Cover, painted in colours and gilt. About 1770.

Elongated pear-shaped bodv, with long curved spout and ribbed loop handle decorated
whh a gilt leaf in relie'f at the upper end; domed cover with knob in the form of an
applied flower with two leaves, gilt. The ground of the body and cover is painted
in blue enamel veined in darker blue in imitation of marble. On this ground are
reserved a band of gilt cresting round the cover, the mouth and the base, and five large
shaped panels, placed two, one above the other, on either side of the body, and one
beneath the loop of the handle. The panels are painted with bouquets or festoons of flowers
in natural colours and bordered with richly gilt rococo scrollwork. The spout is decorated
with a bouquet in colours and the handle with gilt scrolls. H. 11^ in., diam. jf in.

BRISTOL. 145

Of the same pattern as \o. 716; compare note thereon as to its place of manufacture.
I'ormerly in the Prideaux Collection.

iMarryat, fig. 227; Jaennicke, Grundriss dcr Keramik, fig. 3696, p. 811 ; Gamier, Hisloirc de hi
Ceramique, fig. 159 ; Chaffers, fig. 455 ; Journals, ii., illustration facing p. 434.

763. Coffee-pot and Cover, painted in colours. About 1775.

Elongated pear-shaped body, with long curved spout of decagonal section and scrolled loop
liandle with an acanthus-leaf in relief at the upper end ; domed cover with cone-shapcil
knob. Both body and cover are slightly lobed and are painted with a border composed
of a wavy green ribbon intertwined with feathery scrolls in crimson, and with bouquets
and scattered sprays of flowers in natural ci>lours. H. gj in., diam. 4^ in.

711. Jlg, painted in colours. Mark, the sign for tin, in gold, nearly obliterated,
and "T" (?) impressed. About 1770. (Pl.\te 81.)

Pear-shaped body with loop handle (restored in plaster) and projecting li]) beneath which
is a bearded mask in relief from the same mould as the head of the figure of Winter
in the set of the Seasons (No. 730) described above. The mask is coloured after nature.
Round the top of the jug, below a narrow red border, is a wavy green ribbon tied in
two bows and intertwined with scrolls and tendrils in crimson. Bunches and detached
sprays of flowers, amongst which are plum-branches bearing fruit, painted in natural
colours, are scattered over the remaining surface. H. 10 in., diam. 7]- in.

The indistinct impressed mark appears to be the initial " T," which is usually regarded as the
mark of the modeller Tebo ; as in the case of Nos. 41 and 43, it doubtless refers only
to the model of the mask below the spout. Compare note on Xo. 730, also Owen, p. 242,
Bnylington Magazine, x.w., p. 108. The border is similar to that of Ko. 763.

764. Cab.vket or Tea-set for a single person, painted in colours and gilt. Mark on

each piece, a cross in overglaze blue enamel ; also on the sucrier, crossed swords
in imitation of the mark of Meissen porcelain in underglaze blue, the cross
being painted partly over it (No. 61). "About 1780.

The set consists of a tray, tea-pot and cover, sucrier and cover, cream-jug, and cup and saucer
each decorated with a row of gilt-edged oval compartments, set midway between two
horizontal bands of husk-pattern in green ; the compartments, the gilt edges of which
are delicately tooled, contain single rose-sprays, pointing alternately upwards and down-
wards, fiainted in natural colours. The tray is oval, with wavv shaped rim and a
serpentine longitudinal rib projecting beneath the base to strengthen it. The tea-pot
is pear-shaped, with short curved spout projecting from the shoulder and large loop
handle, both moulded in the shape of a twig, and small flat-topped cover surmounted
by a coloured rosespray in relief. The sucrier is of bulbous form, with slightly domed
cover, on which also is a rose-spray in relief. The cream-jug is pear-shaped, with pro-
jecting lip and loop handle. The cup is inverted bell-shaped, with loop handle. Trav,
H. i| in., I., ii] in., W. 7J) in.: tea-pot and cover, H. 5^ in., diam. 3^ in.; sucrie'r,
H. 3j in., diam. 3 in.; creamjug, H. 3! in., diam. 7^^ in. ; cup, H. 2J in., diam. 2,'. in.;
saucer, diam. 4, in.
Tea-pot, Chaffers, fig. ^(,(i. The pattern is the same as that of No. 775.

765. Crf.am-jl'g, moulded in relief and painted in black and green. .Mark, a cross

and 6., in overglaze blue enamel (No. 62). About 1780.

The body is spirally flute<l, with wavy edge and projecting lip, the flutes being moulded
at their lower end with frond-like foliage; festoons of flowers in grey outline washed
over with green enamel are painted round the outside. Loop handle of scrolled form.
H. 2;'; in., I.. 4^ in.

766. Plate, painted in red and gilt. .Mark, ;i cross in overglaze blue eiinmcl.

About 1780.

The narrow scalloped rim has a gilt edge and a border composed of a wide red band
twined about with a gilt ribbon. Diam. 6J in.
X l'.)2.-.9 s.

146

BRISTOL.

767. SuCRiF.R AND CovER, painted in colours and gilt. .Vbout 1780.

Of the same form as the sucrier in the cahurel, \o. 76.^. Round the edge of both pieces
is a narrow border in black and green painted to imitate marble, edf^ed with gilt
scrolls <ind foliage. The remaining surface is decorated with scattered bouquets and
sprays of flowers in natural colours. H. 3; in., diam. 3J in.

768. Spoon-tray, painted in colours and gilt. Mark, i., said to be tiie mark of the

enameller, Henry Bone, in gold (No. 68). About 1775.

Of shaped oval form, with wavy rim decorated with festoons of flowers and garlands of
laurel in natural colours, tied with pink ribbons, with gilt leafy ornament at intervals.
.\ spray of flowers in colours occupies the middle. I,. 6 yj 'n> W. 4I in.

769. Chocolate-cup with Cover and Saucer, painted in colours and gilt. Mark

on the saucer, a cross and 2., said to be the mark of the enameller, William
Stephens, in overglaze blue enamel (No. 63). About 1775.

The cup has two scrolled loop handles : the domed cover has a knob in the form of a
green apple with foliage, applied in relief. Each piece is decorated with festoons of
flowers in natural colours hung from a gilt horizontal line. Cup and cover, H. 4J in..
W. 5I in. ; saucer, diam. 5I in.

For the significance of the mark, see Owen, p. 235, and O.xford, Catalogue, Trapnell Collection,
p. xviii.

770. Portion of a Service, painted in colours and gilt, consisting of a bread-and-

butter plate, sugar-basin and cover, two chocolate-cups, two tea-cups and
saucers, and two coffee-cups. Made for William Cowles. Mark, on the
chocolate-cups and one tea-cup', a cross in overglaze blue enamel and i.,
said to be the mark of the enameller, Henry Bone, in gold, accompanied on
the chocolate-cups by the date 1776, also in gold (No. 69). (Plate 81.)

The plate is saucer-shaped, with a circular ridge underneath, within the foot-ring, to
strengthen the base. The sugar-basin, chocolate- and coffee-cups are of ogeeform, the
cups having scrolled loop handles. The domed cover of the sugar-basin is surmounted
by a flower with foliage, applied in relief within a painted laurel wreath. The tea-
cijps have no handles. Each piece is decorated with a bouquet and scattered sprays
of flowers in natural colours, and with the monogram " WC " in duplicate, in gold
within a green laurel-wreath. This monogram is placed in the centre of the plate and
saucers, on one side of the sugar-basin, outside, and inside on the bottom of each of
the cups. Plate, diam. 75 in. ; sugar-basin and cover, H. 5] in,, diam. 45 in. ;
chocolate-cups, each H. 3j in., diam. 3j in.: tea-cups, H. i^ in., diam. 3I in.; saucers,
diam. 5 in. ; coffee-cups, H. 2\ in., diam. 2; in.

This service was made for William Cowles, merchant, of Xo. 33, Castle Green, Bristol. ,\
tea-cup and saucer are in the British .Museum (Xo, viii. 22) ; another chocolate-cup is
shown in Ow-en, fig. 55.

Formerly in the Prideaux Collection.

771. Tea-cup and Saucer, painted in colours and gilt. Mark, on both pieces, 3. in

gold, accompanied on the saucer by crossed swords in imitation of the mark
of Meissen porcelain, in underglaze blue (No. 67). About 1775.

The cup is decorated outside and the saucer inside with a band of arched gilt scrolls
connected by S-shaped gilt scrolls with the rim and twined about with vva\y garlands
of flowers painted in natural colours. The cup has a shaped loop handle. Cup, H. ij in.,
diam. 3 in. ; saucer, diam. jj in.

BRISTOL. 147

772. Tea-cup and Saucer, painted in colours in imitation of Cliinese porcelain.

Mark, a cross and 16, in overglaze blue enamel (No. 64). About 1780.

The cup is painted outside and the saucer inside with a Chinese lady holding an umbrella,
standing with a child at her side in a garden ; to the left of her is a parrot perched
on a stand. Inside botli pieces is a border of chain-pattern in red. The cup has no
handle. Cup, H. i| in., diam. 3^ in.; saucer, diam. 5 in.

773. Two Tea-cups and Saucers, painted in colours. Mark, a cross and 7., in

overglaze blue enamel (No. 65). About 1780.

The cups are inverted bell-shaped without handles, and, like the saucers, have a wavy edge,
coloured brownish-crimson. The cups are decorated outside and the saucers inside on
the rim with festoons of flowers, in black outline fdled in with green. Cups, H. 2 in.,
diam. 2| in. ; saucers, diam. 4^ in.

Kor reasons not stated this pattern has been called the " Horace Walpole pattern."

774. Tea cup and Saucer, painted in colours and gilt. Mark on both pieces, 3. in

gold ; also on the saucer, crossed swords in imitation of the mark on Meissen
porcelain, in underglaze blue (No. 66). x\bout 1780.

Bell-shaped cup with shaped loop handle. The cup is decorated outside and llie saucer
inside with festoons of foliage, in grey washed over with green, hanging from tlie rim
and passing over oblique lines of gold which spring at their lower end from a band of
scallops, also in grey and green. In the middle of the saucer is a small gilt rosette.
Cup, H. 3} in., diam. 2I in. ; saucer, diam. 5J in.

775. Two Coffee-cups, paitend in colours and gilt. Mark, a cross in overglaze

blue enamel and 3. in gold (No. 70). About 1780.

The cups are cylindrical, with scrolled loop handle moulded in relief with liusk pattern, f ilt :
the saucers have a high slanting rim. The cups are decorated outside and the saucers
inside with a row of gilt-edged oval compartments, set midway between two horizontal
bands of husk-pattern in green ; the compartments, the gilt edges of which are delicatelv
tooled, contain single rose-sprigs, pointing alternately upwards and downwards, painted
in natural colours. Cups, H. 2^ in., diam. 2| in. ; saucers, diam. 5^- in.

Owen, fig. 34. The pattern is the same as that of \o. 775.

776. Two Coffee-cups and Saucers, painted in colours and gilt. Mark on all the

pieces, a cross in overglaze blue enamel, accompanied on the saucers by 4. in
the same colour (No. 71). About 1780.

Of the same form as No. 775. The cups are decorated outside and the saucers inside with
two wide bands of scale-pattern in crimson, edged with gold and enclosed between two
narrower bands of green liusk-pattern. A gilt rosette occupies the centre of the saucers.
Cups, H. 2f in., diam. 2:] in. ; saucers, diam. 5^ in.

777. Coffee-cup and Saucer, painted in colours and gilt. Mark, a cross in over-

glaze blue enamel, and i., said to be the mark of the enameller, Henry Bone,
in gold (No. 72). About 1780.

Of the same form as No. 775. The cup is painted outside and the saucer on the rim with
twisted festoons of pearls between two horizontal liands of prein liinK-n;itt,.,„ (-,,.,
H. 2J in., diam. 2^ in. ; saucer, diam. 5} in.

Owen, fig. 30.

K -2

148

BRISTOL.

778. CoFFKK-'cup AND Saucer, puiiitpd in puiple and gilt. Mark, a cross in overglax.e

blue enamel and 2, said to be the mark of the enameller, William Stephens, in
gold. About 1780.

Of the same form as No. 775. The dcroration, on the outside of the cup and on the rim
of the saucer, consists of a band of gilt chain-pattern, carefully tooled, between two gilt
lines each twined about with a ribbon in purple. Cup, H. 2^ in., diam. 2j in. ; saucer,
diam. 5J- in.

See note on No. 769.

779. Two Coffee-cups and Saucers, painted in colours and gilt. Mark on both

saucers, 5 in gold, also on one of them, crossed swords in imitation of the mark
on Meissen porcelain, in underglaze blue (No. 73. j About 1780.

The cups are bordered outside and the saucers inside with gilt rosettes connected by S-shaped

scrolls in red, which are intertwined with narrow stems of foliage in grey and green.

Small gilt sprigs are scattered over the remaining surface. Cups, H. 2| in., diam.

2J in. ; saucers, diam. 5^ in.

780. 1 WO Coffee-cups, painted in colours and gilt. Inside on the bottom of each,

accompanied by the date 1774 and a cross, the mark of the Bristol factory,
are the initials " I H," in crimson, said to be those of Joseph Harford, iron
merchant, of Bristol.

Erich has a loop handle in the form of a bent twig and is painted with festoons of flowers
in natural colours hanging from a border of narrow gilt scrolls. Each, H. 25 in., diam.,
2j in.

In the opinion of Owen (pp. 94, 189) the service to which these cups belong was more probably
made for Joseph Mickey, a friend of the statesman, Edmund Burke, and London agent
for the Bristol porcelain works. Joseph Harford, with whom the service is traditionally
associated, was one of the partners with Champion in the ownership of the factory in
the years 1768-9. Another cup from the service is reproduced by Owen (fig. 43).

IX.— CAUGHLEV

FROM the year 1772 onwards porcelain was made at a potterv
previously in existence at Caughley, near Broseley, in Shropshire.
The introduction of the manufacture was due to Thomas Turner,
who came from Worcester. The earlier productions were for the most
part decorated by printing under the glaze in blue of peculiar brilliancv,
a type unrepresented in the Collection; if the jug (No. 122) is rightly
assigned to Caughley it would appear that printing in black over the
glaze was also sometimes adopted. In 1799 the works were purchased
by John Rose, of the neighbouring Coalport factory, and their activitv
steadily lessened, until about 1814 they were finally demolished. A
characteristic style of decoration in underglaze blue and gold ' belongs
to the last few years of the iSth centur}', being clearly inspired by the
Worcester porcelain of the Flight period of management.

Amongst the marks used at Caughley are the initials " S " and " C '"
printed in blue under the glaze. The "S" indicates "Salopian," the
name by which the porcekiin was generally known.

Nos. 781-783.

These pieces are variously decorarted with painting, printing or gilding.
The blue decoration in every case, whether painted or printed, is under
the glaze.

781. Jug, painted in blue under the glaze, and decorated over it in enamel colours

and gold. Mark, "' S " in blue, barred over with gold as though to conceal it.

.About 1790. (Pl.\te 86.)

The form is borrowed from Worcester porcelain and is the samp as that of the Worcester
jug No. 540. On the front are the initials "SB" in monogram, In a circular medallion
with a border of beads in gold, and on either side are bouquets and scattered spravs of
flowers in brown, yellow and gold, with touches of dull green. Round the top and 'base
are borders of gilt chain-pattern on a dark blue band, edged with a wavy wreath of
gilt foliage. H. 8} in. diam. 6 in.

782. jiG, painted in blue and gilt. About 1790. (Pl.\te 87.)

Of the same form as i\o. 781. The body and neck are decorated with branches of con-
ventional foliage in gold and flowers "in blue. Round the shoulder and rim are formal
borders In blue and gold. H. y-} in., diam. 4J in.

iNos. 781, 782, 783.

I50 CAUGHLEY.

790. JL'G, printed in blue with the royai arms of King George III. as borne before 1802
and with figures of volunteers. 'I'he royal arms are also impressed from a seal
on the base (Mark No. 74). Inside the rim is the inscription " BRIMSTREE
LOY.'VL LEGION." About 1795. (Pl.\th 87.)

of ihe same form as No. 781. The arms, which arc accompanied bv a crowned helmet,
lloral emblems, the supporters, and the mottoes •' HOXI SOIT QUI .\I.\L Y PEXSE "
and " DIEU ET MON DROIT," are set in the midst of a trophy of flags and weapons,
(lanked on either side by the same print representing two volunteers standing at
attention as sentries beside a flagstaff. Above this group, which is repeated on either
side of the neck, is placed on one side of the body another print representing a-bodyof
troops on parade. The inscription is placed on a garter forming a border inside the
neck. H. 8 in., diam. 5 in.
lirimstree is the name of a hundred in Shropshire, in the immediate neighbourhood of
Caughley. The jug was doubtless made for the u.se of a corps of volunteers in the
time of the war with France during the last decade of the i8th century ; it may be
dated between 1794, when the volunteer movement began, and the Peace of Amiens, 1802.

122. I'JG, printed in black. About 1775.

Pear-shaped, with projecting lip and loop handle. On one side is a Chinese lady
attended by two children, one of whom holds a parasol over her head ; on the other
side are two youths in European dress of the period, playing at battledore and
shuttlecock, with rococo scrollwork below. H. 4J in., diam. 3^ in.
This piece is conjecturally attributed to Caughley. The paste shows by transmitted light
the warm yelluwisli tune characteristic of Caughley porcelain.

783. I'-MiJ OF Mugs, painted in blue and gilt. About 1790. (Pl.\te 87.)

Cylindrical, with grooved loop handle. Decorated with two conventional floral designs set
alternately with vertical bands of formal ornament between them. H. 4^ in., 4J in.,
diam. 35 in., 3^ in. respectively.

X.— LIM'RPOOL.

PORCELAIN was made at several of the potteries which ilourishcd
at Liverpool in the iSth century. Richard Chaflers, who died
in 1765, appears from an advertisement to have been making
it as early as 1756. Amongst other potters who produced porcelain
at a slightly later period were Samuel Gilbody, Philip Christian,
Seth and John Pennington, and Zachariah Barnes. Porcelain was
also made from about 1800 onwards at " Herculaneum," a pottery
established near Liverpool in 1796, on the right bank of the Mersey.

The Schreiber Collection contains no specimens of Herculaneum
porcelain, all the pieces belonging to the earlier period of manufacture
at Liverpool. In the absence of marks or signatures of potters it is
impossible to assign the specimens to their several makers ; all are
decorated with black transfer prints, executed at the printing works
established in the city about 1756 by John Sadler and Guy Green.

Nos. 784-789.

The prints on all these pieces are o\cn- the glaze in black ; Xo. 789
has also slight painted decoration ni the same colour.

784. Mug, printed in black wilh a bust ]Hiitrait of "Major General Wolfe"

(b. 1727, d. 1759). The print is signed "J. Sadler Liverpool." About 1770.
(Plate 87.)

Carrel-shaped, with scrolled loop handle. The bust is flanked by rococo scrollwork supporting
two tropiiies, of arras, funeral monuments and flags ; two of the flags are inscribed with
the names of his engagements " Louisbourg" and "Quebec." H. 3J in., diam. 3 in.
Made to commemorate Wolfe's victory and death at Quebec in 1759. The print appears to
be based on a portrait by Thomas Gainsborough, reproduced in The Century Ma};azine,
iVno Series, xxxiii, p. 3:2.

785. Mug, printed in black witli a half-lengtli jjortrait of " Tiie Illustrious Prince

Ferdinand of Brunswick" (b. 1721, il. 1792). The print is signed "Sadler
Up'." (Pl.ate 87.)

The portrait is flanked on one side by a battle-scene, on the other by a sliicld with the
arms of Prussia amid a trophy of arms and flags, one of Which is inscribed •' Minden."
The mug is mounted with a silver rim chased wilh rococo scrollwork. H. 3^ in., diam.
3i in-
Made to commemorate the battle of .Minden, 1759.

152 Ll\"l'Ul'()()I..

612. CiM-TEE-POT AND CovEK, printed in black by John Sadler.

The form is the same as that of the Worcester coffee-pot No. 61 1, except that the cover
lias a cone-shaped knob. On one side of the body is a print of a lady standing under
a tree beside a man, who sits playing a flute, whilst two children dance in front of them.
On the other side is Harlequin seated with a lady on a seat, with needlework on a table
beside it, before a tree, from behind which Pierrot is seen approaching. The cover is
decorated with a wreath of interlacing rococo scrollwork. H. yj in., diam. 35 in.

The first-named print occurs also on a tile of "delft" ware (No. 845) and a tea-pot of
cream-coloured earthenware (No. 1107}, the second on a "delft" tile (No. 840) and, in
combination with scrollwork of the same pattern as on the cover, on a sugar-basin of
cream-coloured earthenware (No. 11 13) in the Schreiber Collection, all printed at Liver-
pool. Compare Burlington Magazine, Vol. vi., article by John Hodgkin, Transfer Printing
on Pottery, pp. 319, 320.

[786. Two S.\UCE-B0.\TS, Worcester porcelain, see p. 89.]

[787. Two Jugs, Worcester porcelain, see pp. 95, 96.]

[788. Jug, Worcester porcelain, see p. 96.]

789. Two TE.\-crPS .\n'd S.xuceks, printed and painted in black. On one side ol
the cup and saucer is a group of figures beside a monumental fountain, from
the painting by Antoine Watteau, now in the Wallace Collection, known as
"La Cascade," which was engraved by G. Scotin. About 1760. (Plate 87.)

The cups, which have no handle, are printed on the reverse side with figures of a shepherdess
and a seated mandoline-player with sheep in a landscape. Inside both cups and saucers
is a painted border of scallops and dots. Cups, H. i| in., diam. 3 in., 2| in. respec-
tively ; saucers, diam. 4I in.

[790. Jug, Caughley porcelain, see p. 150.]

XL— STAFFORDSHIRE PORCELAIN OF THE 19111 CENTURY

THE Collection contains only a few selected specimens of the
porcelain of the numerous factories in Staffordshire which came
into existence or first began to manufacture porcelain in the
early years of the 19th century.

vj I. LOXGPORT.

Xo. 791.

Porcelain was manufactured, with otlier wares, at Longport, near
Burslem, by the firm established in 1793 by John Davenport and
carried on by his descendants till 1882.^ In the earlier productions
the style of the Derby porcelain of the time was imitated. The mark
used was the name of the firm, sometimes accompanied by an anchor,
printed or impressed.

791. Tea-cup and Saucer, decorated with K'lding an<l painted en canuucn in grey
on a sage-green ground. Mark, " Davenport, longport,"' printed in red
(No. 78). .\bout 1825.

The cup is painted outside and the saucer un the rim with sheep in a landscape reserved en
camdieu on a green ground, between gilt borders of bead and lotus-llower ornament.
Inside the cup and in the middle of the saucer is a large gilt rosette. Cup, H. 3 in.,
diam. 2j in. ; saucer, diam. 5 in.
Bought at Dresden on .\ugust 7th, 1869, see Journals, i., p. 29, " I have to enumerate from
Wolfsohn's .... green cup and saucer, imitating 'Empire' Sevres, signed Davenport,
Longport, 12s."
Solon, fig. 791.

[792. Jug, porcelain, of uncertain origin, see p. 164.]

[793-796. Group, etc., Rockingham porcelain, see pp. 156, 157.]

[797-799. Inkstand, etc., Lowestoft porcelain, see p[). 159, 160.]

>^ 2. SrOKE-UPOX-TRF.NT (SPODE).

Nos. 800 — 802.

Porcelain was first made about 1800 at the potteiy established by
josiah Spode at Stoke-upon-Trent, and carried on after his deatli in
1797 by his son of the same name. In 1833 the manufacture passed

^ See Rhead, p. 92.

154

STAFFORDSHIRE.

inlo the liaiuls (if William Tavlor Copclaiui, by wlicsc family it is
still conducted.

In the porcelain made (.luring the Spode management excellence of
material is combined with the florid decoration characteristic of the
period. The mark employed was the name "Spode" usually accom-
panied by a pattern-number, variously executed; in the three pieces
described below, all of which are decorated with painting and gilding
over the glaze, the mark also is written over the glaze in various
colours. The decoration of each is in rich enamel colours and gilding,
in the case of Nos. 8oi and S02 partly over a ground of dark underglaze
blue.

800. \'.vsi-: AND Covr.R. Mark, "spode " in brown (No. 77). About 1825. rPi..\TE 88.)

Ovoiil body painted in natural colours on one side with a bouquet, and on the other with an
overturned basket of (lowers, and with two butterflies, against a shaded brown ground.
Domed perforated cover with a gilt knob in the form of a pod, two gilt loop handles
rising from the slioulder, high foot supported on a square plintli with a border of gilt
conventional ornament. H. 7^ in., W. 4 in.

801. \'inLET-p.'\.SKET. Mark, " spodh 1166" in reck About 1820.

Oval with scalloped edge, perforated convex cover, and loop handle on the cover and at
either end of the basket. Painted with sprays of flowers in natural colours reserved on
a ground of dark underglaze blue overlaid with gilt scale-pattern. H. i j in., L. 4j in.,
W. 2| in.

Bought at Exeter on September 15th, 1869. see Journals, i., p. 37, "The only thing the
small shops at Exeter presented was a little .Spode basket at Mrs. Guertos."

802. Box .\ND Cover. Mark, "spode 1166" in red (No. 80).

Circular, painted inside and out with sprays of llowers in natural colours, reserved except
in the middle of the cover on a ground of dark underglaze blue overlaid with gilt
scale-pattern. The cover is slightly convex. H. i] in., diam. 2* in.

§ 3. STOKE-UPOX-TRENT (MIXTOX).

Xo. 803.

The factory ('arried on at the present time at Stoke by Mintons,
Limited came" into operation in 1796 under the direction of Thomas
Minton, who had previously worked at Caughley and elsewhere as an
engraver of copper-plates for printing on pottery. Porcelain is said
to have been added to the productions of the factory in 1798, and
appears to have been made continuously from that time forward.'
The mark usually employed until 1861 consisted of double "S" in

^ Compare Burton, English Porcelain, p. 173.

STAFFORDSHIRE. 155

imitation of tlie Sevres mark, with "M" below, generally in blue enamel
over the glaze. In addition to the pieces described below, No. 470
was also probably made at the Minton factory.

803. Pair of Beakers, painted in entimel colours and gilt. Mark, double " S " above
" M," in overglaze blue (No. 79). (Plate 88.)

The beakers are painted with sprays of flowers in natural colours, on one yellow globe-flower
and purple peony, on the other, pink and yellow mallow and purple-striped double
anemone. A gilt band encircles tlio rim and base of both pieces. H. 4f in., 4! in.
respectively, diam. 4 in.

>j 4. HAXLF.Y.
Xo. Soyi.

Amongst the factories producing porcelain at Hanley w^as that of
John Shorthose & Co., stated to have come to an end" about 1823.'
The mark used was the name of the firm, sometimes accompanied by
crescents.

803a. Tea-ci;p and S.aucer, printed in underglaze blue. Mark on the saucer, " Shorthose
& Co." and two crescents, printed in the same colour (No. 81). About 1800.

The cup is printed outside and the saucer inside with pheasants and other birds perched on
a tree or flying. The cup has no handle. Cup, H. i J in., diam. 2^ in. ; saucer, diam. 4J in.

§ 5. STAFFORDSHIRE {MAXrFACTL-RE UNCERTAIN).
Nos. 354, 470.

In the absence of marks it is impossible to assign these pieces with
certainty to any one of the Staffordshire factories in particular.

354. Two Plates, inoulded in relief and painted in colours over the glaze.
.About 1810.

The rim has a scalloped edge and is mouldo<l with trellis-pattern, with small vellow flowers
applied at the points of intersection, Tho middle is painted with sprays of flowers in
natural colours. Diam. 7I in.

470. Mug, printed in crimson from a stipple-engraved plate and gilt. About 1820.

Cylindrical, with foliated loop handle and moulded base. The print on the front of the

mug depicts a shepherd addressing a girl who kneels to draw water from a stream.

H. 4' in., diam. yl in.
This piece is probably an early production of the Minton factory at Stoke-upon-Trcnt, at

which stipple-printed decoration was extensively used.

' Chaffc-rs. Marks atul A Aum "171 njs, p. 701.

XII.— SWINTON (ROCKINGHAM WORKS).

IN iSio experiments were made for the production of porcelain at
the pottery of Brameld & Co., on the estate of the Marquis of
Rockingham, at Swinton, near Rotherham, in Yorkshire, but it
did not become part of the regular output of the establishment till
1826, in which year the factory received assistance from Earl Fitzwilliam
and assumed the title of "Rockingham Works"; porcelain continued
to be made there till 1842, when the works were closed. The mark
used, in several variations, consisted of the name of the works and the
proprietors below a griffin, the crest of Earl Fitzwilliam, printed in
various colours. The title " Royal " prefixed to the name indicates
pieces made after 1830, when the factory received an order from
William IV., and the words "Manufacturer to the King" those made
during his reign (i 830-1 S37). Another mark occasionally found is an
applied oval medallion with the name "Brameld" in relief within a
wreath of the national floral emblems.

Nos. 793-796-
These pieces are all decorated over the glaze in enamel colours and
gold, in the case of No. 796 over a printed outline.

793. Group. Two greyhounds and a dead hare. About 1830.

One of the hounds, which are coloured after nature, is sitting up, the otlior lying down, on
an oval rocky base coloured green. H. 2} in., L. 4I in., W. 2J in.

794. V.\SF. AND Cover. Mark, a griffin, and "Rockingham Wovks Brameld," printed

in red; also an applied oval medallion moulded in relief with the name

" BRAMELD " within a wreath of roses, thistles and shamrock (No. 87). 1826-1830.

Of hexagonal section with bulbous body, spreading base, short neck, and wide-rimmed domed

cover surmounted by a gilt figure of a seated monkey. Both vase and cover are

painted with butterflies and bouquets and sprays of flowers in natural colours. H. 12 in.,

diam. 3^ in.

795. Toy Tea-pot, decorated with applied flowers modelled in relief. Mark, a griflui,

and "Rockingham Works Brameld Manufacturer to the King," printed in
crimson (No. "86). 1830-1837.

Depressed pear-shaped body with short curved spout and loop handle in the form of green
twigs from which spring the flowers in relief, coloured after nature, which are applied
to the body; the domed cover is similarly decorated with flowers. H. 2i in., diam. 2| in

SWINTOX. 15

796. Plate, printed in black outline and painted in colours with gilding, in
imitation of Chinese porcelain of the famillc verte. Mark, a griffin, and
"Royal Rock'" Works Brameld," printed in crimson (No. 88). 1830-1842.
(Pl.\te 85.)

Octagonal. The middle is circular and is painted with flowering plants, /ungi, and grotesque
birds. The rim is decorated, w'ithin a formal border in red, with fldwers on a green
ground on which are reserved four shaped panels, enclosing alternately a bird and a
beetle among flowers. Diam. g^ in.

XIII.— LOWF.STOFT.

A PORCELAIN factory was established at Lowestoft, in Suffolk, in
1757, after an unsuccessful attempt in the neighbourhood in the
previous year. In 1770, under the title of Robert Browne and Co.,
the firm had a wareliouse in London. The factory, which was almost
entirely occupied with the production of wares of a utilitarian character
with decoration of modest pretensions, was closed about 1802. The
name of one of the Lowestoft painters, Robert Allen, is inscribed on
a Chinese porcelain tea-pot in the Collection (No. 817).

Numerous pieces bearing local inscriptions serve as aids to the
identification of Lowestoft productions. Additional evidence was provided
in igo2, when a quantity of moulds, wasters and fragments were
brought to light on the premises formerly occupied by the manufacture^.
Li the earlier stages the decoration consisted chiefly of painting in
underglaze blue, inspired by Chinese originals and generally combined
with scrollwork and floral ornament moulded in relief in which the
influence of early Worcester porcelain is perceptible. Lnderglaze
printing in blue" was also employed. From about 1770 polychrome
painting over the glaze was adopted, simple sprays of flowers and
feathery scrolls of rococo character being the predominant motives.
Inscriptions are also common. The rococo style continued in vogue
at Lowestoft longer than in most factories ; it was only towards the
end of the i8th century that the classical Revival took effect there.
The "French sprig" pattern, originated in the Parisian factory of the
due d'Angouleme, is sometimes found on pieces of the latest period.

No recognised factory mark was used at Lowestoft, but small
numerals of uncertain significance, always in underglaze blue, are of
frequent occurrence under the base of the pieces.

Xos. 797-799-

The following pieces are decorated with painting either in blue
under the glaze or in various colours over it. Gilding occurs on No. 799
only. The marks in blue are under the glaze.

LOWESTOFT.

159

797. Inkstand, painted in blue, inscribed "A Trifle from Lowt^stoft." About 1770.
(Plate 89.)

Brjcly nearly cylindrical, with slightly concave sides, short narrow nrck. and four holes for
pens round the shoulder. The inscription is enclosed within a panel of rococo scrollwork ;
on the reverse side of the body are sprays of con\entional (lowers and two insects.
Round the shoulder and inside the mouth are formal borders in Chinese style. H. 2} in.,
diam. 3J in.

596. Tea-pot and Covkr, painted in blue on a powdered blue ground in imitation
of Chinese porcelain. About 1765. (Plate 89.)

Globular body, w-ith short wide neck, curved spout and loop handle ; slightly conve.\ cover with
cone-.shaped knob restored in plaster. The whole surface is covered with powdered blue,
with exception of a large shaped panel on either side of the body and two smaller ones
on the cover, reserved in white, which are painted with Chinese flowering plants and insects.
H. 5} in., diam. 4I in.

This piece is similar in character to the dish in the British Museum painted with a view of
Lowestoft Church ; compare Hobson. Catalogue, pi. 37.

497. Two Salce-bo.\ts, moulded in relief and painted in black ; inside on the
bottom of each are the name "Miss de V'aux" and date 1774.

I^ong spout, shaped rim, loop handle, the sides moulded with shaped panels. Under the lip
and in one panel are sprays of (lowers ; the other panel encloses a Chinese landscape.
Inside the rim are sprays of (lowers and compartments of trcUis-pattern. H. ij in.,
i| in. respectively, I,. 4} in., W. i? in., ij in. respectivelv.

531. PAiii OF Trays, moulded in relief and painted in greyish-blue. About 1765.

In the form of a leaf on which are moulded a smaller leaf, a spray of (lowers, and an
insect. The oiitlines of both leaves and the veins of the smaller are picked out in blue.
W. 5I in., 46 in. respectively.

The attribution of these pieces to Lowestoft is uncertain.

129. Two Tf.a-cups and Saucers, moulded in relief and painted in blue. Mark on

the cups, I in blue. About 1760. (Plate 89.)

Both cups and saucers are moulded with sprays of conventional roses and carnations below
a narrow band of scrolls, which is enclosed by a formal border painted in blue. The
cups have no handle. Cups, H. ij in., diam. 3 in.; saucers, diam. 4J in., 4J in.
respectively.

Made from moulds of the same pattern as one found in the old buildings of the Lowestoft
factory in 1902, figured by Spelman, pi. iv. The painted border occurs on a fragment
found on the same site, figured in the same work, pi. lili.

130. Tea-cup and Saucer, moulded in relief and painted in blue. The initials

" l.H." and date 1764 are introduced in the moulded decoration. (Plate 89.)

Both pieces are moulded with three vertical or radial bands of trellis-pattern dividing the
surface, below a narrow border of painted ornament of the same pattern as that on
No. 129, into three compartments, each of which encloses a circular medallion with
beaded border surrounded by conventional floral ornament also in relief. In each
medallion is a small Chinese landscape painted in blue; on the bottom of the cup
inside and in the middle of the saucer is a floral spray similarly executed. Cup, H. i? in.,
diam. 3 in.; saucer, diam. 4^] in.

The mould for a tea-pot with similar relief decoration and the date 1761, a cast from which
is in the British Museum, was found in the old buildings in 1902 ; see The Connoisseur,
vol. v., 1903, p. 269. For the border compare Spelman, pi. liii.

i6o LOWESTOFT.

123. Toy TEA-sERVicii, consisting of tea-pot and rover, sugar-basin and cover, milk-
jug, two tea-cups and saucers, and two coffee-cups and saucers, painted in
colours. About 1780. (Plate 8g.)

The Ica-pot lias a globular body, slightly curved spout, loop handle, and domed cover with
round knob. The sugar-basin has a flange round the rim, into which the convex cover
fits. The jug is pear-shaped, with projecting lip and loop handle. The tea<ups have
no handle. All the pieces are painted with bouquets and sprays of llovvers in natural
colours.

'lea-pot, H. 3j in., diam. 2j in. ; sugar-basin, H. 2} in., diam. 2! in. ; milk-jug, H. j] in.,
diam. ij in.; tea-cups, H. i in., diam. ij in.; coffee-cups, H. 2'^ in., diam. li in.;
saucers, diam. 3J in.

112. Tea-poy, moulded in relief and painted in blue. On one end are the words
" Hyson Tia," and on the other the initials " H.T." Mark, 5 in blue (No. 75).
About 1760. (Plate 90.)

Of oblong eight-sided section with flat top and short cylindrical neck. The larger sides arc
painted each with a Chinese figure in a landscape, in a panel surrounded by flowers,
beadwork, and foliage in relief. Round the top and base are borders of scrolls and
lozenge-pattern respectively in blue. The inscription and initials on the ends arc
painted each on a slightly raised panel with a Horal border in relief. Floral sprays and
insects in blue are scattered over the remaining surfaces. H. 45 in., 1.. yl '"■. ^^ • -j '"•

108. Mug, painted in blue in the Chinese stvle. Mark, 14 in blue. About 1770.
(Plate 89.)

Cylindrical, with grooved loop handle. The decoration consists of a dragon, partly outside
and partly inside the mug, chasing a llaming pearl amid conventional clouds. H. j.J in.,
diain. 4„ in.

Bought at Salisbury on September nth, i86g, see Journals, i., p. 36, ". . . . went on to
" Targett's in the High Street . . . There C. S. discovered .... a clumsy blue and
" white jug, handle terminating in a heart. Bow (3s.)." This piece was formerly
attributed to Bow. A similar mug io figured by Spelman, pi. Ixxvii.

Burton, F.iii;Ush Porcelain, pi. ii ; Mew, pi. xi.

798. Mug, painted in colours; inscribed on the front in black "A Trillc from

Lowestoft." About 1790. (Plate go.)

Barrel-shaped, with a band of reeding round the rim and base and scrolled loop handle.

On either side is a spray of cornllowers in overglaze blue, red, and green in the style

of the so-called Angouleme sprigs ; the inscription is surrounded by garlands of foliage

painted in crimson. H. 3| in., diam. 3 in.
A mug with the same inscription and similar decoration in the liritish Museum is dated

1795, figured in The Cemnoisseur, Vol. vii, 1903, p. 100.

799. Mug, decorated with oiKJing. About 1790.

Barrel-shaped, with a band of reeding round the rim and base, and loop handle. On the.
front are the initials "F.H." within a heart-shaped panel; gilt stars are regularly
scattered over the remaining surface. H. 4 in., diam. 3I in.

XIV.— NANTGARW.

THE porcelain works at Nanlgarw, between Cardiff and Merthyr
Tydfil in the valley of the Taff, was founded in 1811 by William
Billingsley (who was apprenticed at the Derby factory in 1774, and
had subsequently been employed by Flight and Barr at Worcester)
and his son-in-law Samuel Walker. The manufacture was suspended
in 1814, when Billingsley and his staff removed to the Swansea works.
It was resumed in 1817 and in 1819 Billingsley migrated to Coalport,
the Nantgarw works being taken over by William Weston Young, who
carried them on till they were finally closed in 1822.

The paste of Nantgarw porcelain is of very translucent, glassy
character. The decoration was chiefly imitated from that of Sevres
porcelain of the i8th century. .Much of the porcelain was issued from the
factory without decoration and painted in London or elsewhere. The
mark used was the name " nant-g.\rw," with or without the initials
" c w " (probably for " China Works "), impressed.

Nos. 804-807.

All these pieces are painted over the glaze in enanu;! colours and
gold.

804. Pen-tray. Mark, "nant-garw c.w.," impressed (No. 82). (Plate 91.)

Boat-shaped; decorated inside witli a border of pendent rose-sprays alternating with stems
bearing red berries intertwined with gilt scrolls, and outside with detached roses and
buds. The flowers are painted in natural colours. I.. 9.5 in., W. 3 in.

805. Pair of Goblets. Mark on both, "G" impressed (No. 83). (Plate 91.)

Semi-ovoid bowl, high spreading foot. The surface of the bowl is divided by pendent
laurel-sprays in gold, each flanked by two vertical wavy gilt lines, into four panels, in
each of which is a spray of flowers in natural colours. Round the rim is a border of
gilt foliage on a wavy stem. The flowers are, on one goblet, pink roses, yellow and
red tulips with forget-me-nots, purple anemones, and blue and yellow convolvulus; on
the other, pink roses, blue and yellow convolvulus, yellow anemones, and purple poppy
Each, H. jj in. diam. 5 in.
.\ 1 '.I2.iy L

i62 NANTGARW.

806. Plate. Mark, "nant-gakw c.w.," impressed. (Plate 91.)

In the micUUo is a bouquet of flowers in natural colours. On the rim arc four panels reserved
in white and surrounded by gilt scrolls flanked by floral sprays on a blue ground; in
two of the panels are Chinese figures, in the others miniature Chinese pavilions among
trees. Diam. gj- in.

This piece was decorated elsewhere than at Nantgarw, probably in London by one of the
enamellers employed by the dealer John .Mortlock.

807. Pi. ATI;. Mark, " nant-garw c.w." impressed. (Plate 91.)

The rim has a shaped edge and is moulded in relief with gilt scrollwork and wreaths of
(lowers forming panels which are painted with bouquets in natural colours against a
shaded grev background. In the middle is a large group of currants, cherries, plums
and an apple, with foliage, in natural colours. Diam. qg in.

From the style of painting it is probable that this plate was painted by Moses Webster, who
decorated Nantgarw porcelain in London for Mortlock, the ware being fired by Kobins
and Randall at Spa Fields, Clerkenwell; compare Turner, p. 207, and pi. xxvii. and x.\xi.

XV.— SWANSEA.

THE "Cambrian Pottery" at Swansea was established in 1764.
Porcelain was not made there until 181 4, when Lewis Weston
DJlIwyn was chief proprietor of the pottery. In that year Dillwyn
visited the porcelain factory recently established at Nantgarw' and
induced its managers. Billingsley and Walker, to transfer their manu-
facture to his own works. Billingsley and Walker left Swansea again
in 1817 ; at the same time Dillwyn disposed of his shares in the firm,
which became Bevington & Co. The manufacture of porcelain ceased
in 1823 or 1824.

The porcelain made at Swansea was of three distinct types of paste.
The first, made from the receipt of Billingsley, resembled that of Nant-
garw porcelain ; the second, from the receipt of Dillwyn, showing the
greenish hue of a duck's egg by transmitted light, was, like the first, not
made after 1818 ; the third, made after that date, was of a dead white
appearance. Both the pieces described below are of the second type.
The marks used were the name " Swansea " written in red script or
impressed in capitals, and on the later productions the name of the
firm impressed ; an impressed trident is sometimes found on porcelain
from Dillwyn's receipt, made from about 1816 to 1818. On Billingsley 's
porcelain the Nantgarw stamp appears to have been used.

Nos. 808-809.
ttoth these pieces arc painted in colours over the glaze and gilt.

808. Pi.ATK. Mark, " Swansea" and a trident, impressed (No. 84). (Plate 91.)

Painted in natural colours with three groups of pink roses and butterflies between them.
The rim is lobed and has a border of beads in relief between two gilt lines. Diam
8.; in.

809. Pi..\TE. Mark, " Sivansea," written in red (No. 85). (Plate 91.)

In the middle is a painting in colours after nature of a bird, the name of which, "Sicallotc
of Otaheite," is written in red on the back of the plate. The rim is decorated with a
narrow border of gilt scrolls. Diam. 8J in.

Kormerly in the collection of Lewis Mewelyn Dillwyn, M.P.

' Compare p. 161.

XVI.— COALPORT.

T OHN ROSE, an apprentice of Turner of Caughley, set up a pottery
I about 1780 at Jackfield in the same neighbourhood; shortly after-
wards he removed it to Coalport, on the bank of the Severn nearly
opposite to Caughley, and in 1799 he bought up the Caughley factory and
for a few years manufactured porcelain at both factories concurrently,
until, about 1814, the elder establishment was finally abandoned. The
Nantgarw and Swansea works were successively absorbed by the Coal-
port hrm, which is still in existence.

The marks used in the early part of the 19th century were the " C "^
and " S " of Caughley, and the name " Coalport " or the initials " C B D "
(for Coalbrookdale, another name by which the factory was known),
painted under or over the glaze. The majority of early Coalport
porcelain is unmarked.

No. 810.

810. Pair of Dishes, filled, one with walnuts, the other with green peas in their shells
and pease-blossom amongst them, modelled in porcelain and painted in colours
after nature. About 1820.

The dishes are circular, with a gilt openwurk border and four small s-creilled feet. II. 3 in.,
2| in., diam. 7I in., 7J in. respectively.

X\II.— ENGLISH PORCEL.AIN OF UNCKRT.MX ORIGIX.

No. 792.

792. |i i^, painted in colours over the glaze and gilt. The name and date "Richard
Street 1792" are incised on the bottom (Mark No. 76). (Plate 90.)

Inverted pear-shaped bodv, cylindrical neck with projecting lip, scrolled and foliated loop
handle On either sid'e of the body are landscapes, each in an oval panel with a formal
gilt border. That on one side d'epicts a distant view of a town with a river in the
foreground ; the other appears to be adapted from a view in Dovedale, near .Vshbourne,
with two persons walking in the foreground. Below the tip is a gilt rose-bud. H. 4^ in.,
diam. 3J in.

The style of ]jainting appears to be an imitation of that of Zachariah Boreman of Derby
(compare No. 471), and it is probable that this jug was made in one of the minor
factories of the Midland counties.

XMII. -CHINESE PORCELALN DECORATED IN EXGLAXD.

DCRING the i8th century and later Chinese porcelain was not
only decorated in China after English and Continental patterns,
but it was imported in considerable quantities in the white
nito this country, where it was painted and gilt, sometimes in the
English porcelain factories, but more often in the smaller establishments
in London and elsewhere of enamellers who decorated white porcelain
of various manufactures, English as well as foreign. The dates assigned
to the pieces described below are those at which the decoration \-as
executed ; in all cases the porcelain appears to be nearly contemporary
with the decoration. A Chinese tea-pot (No. Si 7), the lid of which
only is decorated in England, is described under another heading (XX.).

§ I. DECORATED AT BOW.

No. 8 1 6a.

816a. Tea-cup, CoFFEE-cur, and Saucer, painted in colours and gilt On each
piece IS a shield with the arms of Hayes, of London, accompanied by the
crest. About lyCo.

The shield of rococo scrolled form, charged crminois three wolves' heads erased sable
langued gules, is placed on the front of the coffee-cup, on one side of the tea-cup which
has no handle, and m the middle of the saucer. The crest, a wolf erminois. surmounts
the shield on the coffee-cup and saucer ; on the tea-cup it is separated from the shield
and placed on the reverse side. Coffee-cup, H. 2^ in., diam. 2' in. ; tea-cup H i'- in
diara. 2j in. ; saucer, diam. 4I in. i-i • v .n..

Other pieces from the same set are in the British Museum, see Hobson, Catalogue, p. 21.

§ 2. DECORATED AT CHELSEA.

Nos. 811, etc.

811. Mug, decorated in China witli painting under the glaze in h\uo and over it in

white slip, and at Chelsea with polvchrome painting and gilding The ed^-c

is mounted with a metal rim. About 1760. °

Inverted bell-shaped body, high foot, loop handle finished at the lower end in the form of •>

small joo-i sceptre-head. The original decoration consisted of bamboos and prunu'-,

branches growing on rocks, in slight relief in white slip, between borders in blue of

cell-pattern round the rim and wavy ornament round the lower part of the body Over th>-

slip decoration has been added a group of five e.xotic birds amongst bushes.painted in

brilli.int colours. The foot and handle are gilt. H. j3 in diam 4' in ■ 1 ■"""=" '"

llie enamelled decoration is by the same hand as that of the Chelsea jilatc .\o Sii

i66 CHINESE.

1 812, 813. Tea-pots, decorated at ^^'orcestel■, sec below.]

[814, 815. Cups and Saucers, decorated at Worcester, see below.]

399a. Saucer, painted in crimson and brown.

Painted in monochrome in crimson with a landscape in which are throe travellers resting
beside a stream, with buildings beyond. Fluted rim, with scalloped edge painted with
a brown line. Diam. 4J in.

Decorated by the same hand as a Chelsea bowl and cup (N'os. 376, 399) in the Collection,
and a cup and saucer in the Museum (No. 3241-1853.)

816. Teacup and Saucer, "egg-shell" porcelain, decorated with painting in crimson
and black and gilt. About 1755.

On one side of the cup, which has no handle, is a river-scene with buildings and a wherry ;
in tlie middle of the saucer is also a landscape with two men walking near a large
group of trees. Both landscapes are painted in monochrome in crimson, and are enclosed
within a panel bordered with rococo scrollwork in black and gold. On the reverse side
of the cup and inside on the bottom of it is a figure of a lady wearing a large hooped
skirt, also in crimson. Cup, H. li in.; diam. 2I in. ; saucer, diam. 4J in.

§ 3. DECORATED AT WORCESTER.

Nos. 812-815.

The decoration in each case is in enamel colours over the glaze ;
gilding is also added on all the pieces except No. 815.

812. Tea-pot and Cover. About 1760.

Globular body, straight spout, loop handle, slightly domed cover with gilt cone-shaped knob ;

the stand hexagonal with wavy sloping rim. Ml three pieces are painted with bouquets

or sprays of flowers, butterflies, and caterpillars in natural colours. Tea-pot, H. y} in.,

diam. 4! in. ; stand, diam. jj in.
These pieces appear to be painted by the same hand as Nos. 813 and 815, and the Worcester

pieces Nos. 39, 591, and 787.

813. Tea-pot and Cover. About 1760. (Plate 92.)

Of the same form as No. 812. On either side of the body and on the cover are sprays of
flowers and a butterfly in natural colours in a quatrefoil-shaped panel edged with
a purple line and reserved in white on a primrose-yellow ground. H. 5| in.,
diam. 45 in.

Compare note on No. 812.

814. Two Tea-cups and Saucers, "egg-shell" porcelain. About 1760.

The saucers and the outside of the cups are painted with different groups of exotic birds
amongst bushes in brilliant colours ; inside each cup is a spray of flowers. The cups
have no handles. Cups, H. 1} in., diam. 2| in. ; saucers, diam. 4^ in., 4^ in. respectively.

815. Tea-cup and S.\ucer. About 1760.

Both pieces are painted with sprays of flowers and a butterfly, in natural colours. The

cup has no handle. Cup, H. i\ in., diam. 35 in.; saucer, diam. 4? in.
Compare note on No. 812.

XIX.— GERMAN (MEISSEN) PORCELAIN DECORATED
IN ENGLAND.

Nos. loi, &c.

The three following pieces were made at the Royal Saxon Porcelain
Manufactory at Meissen, near Dresden, about 1740. The polyclirome
enamelled decoration was added over the glaze in England during the
following decade. The decoration in the style of the early Chinese famille
rose on Nos. loi and 116 shows some resemblance to that of the "New
Canton " inkstands made at Bow in 1750.^ Certain pieces of Stafford-
shire salt-glazed stoneware- are enamelled in very similar style, whilst
others with figure decoration are analogous with No. 102. It is pro-
bable that all these pieces were decorated in London, by an enameller
such as Giles of Kentish Town. Except on No. loi, the decoration is
enriched with gilding.

101. Chocoi,atf,-pot and Cover, ])ainted in iiuitation of Chinese jiorcelain of tlio

lainille rose. (Plate 92.)

Pear-shaped body, scrolled loop handle, projecting lip, slightly domed cover with shaped
knob. Painted with sprays of flowers in a vase which stands beside a railing, repeated
on either side of the body and in miniature on the cover. H. 5 in., diam. 3J in.

A similar piece is figured in a Sale Catalogue, Antiquitdten aus dem Besitz des Kunsthandlers
Albert Salomon, Berlin, 1913, pi. 11, No. 186.

102. Coffee-pot and Co\'er. (Plate 92.)

Pear-shaped body, scrolled loop handle, projecting lip, domed cover with shaped knob. The
same figure-subject in colours is repeated on cither side of the body and in miniature
on the cover. It depicts a shepherd seated near a stream beside a girl who is spinning
wool from a distaff. Both are dressed in costume of the period. A dog lies at their
feet, whilst a tree, a windmill, ruined buildings and groups of sheep are introduced as
accessories. H. 6| in., diam. 3I in.

The shape is that of three Meissen coffee-pots in the Museum, Nos. 1956-1855, 1957-1855,
and C. 52-1909.

116. Tea-pot and Cover, painted in the style of Chinese porcelain of the fuinillf
rose.

Xeariy ovoid body painted nn cither side with a phoenix, waterfowl, flowering plants on
rocks and a butterfly ; the cover is similarly painted and has a round knolj. The rim
of the pot is decorated with a floral border. Curved spout of octagonal section, loop
handle projecting to a point. The cover is attached by a silver chain to the handle,
and the spout has been restored in silver. H. 3;] in., diam. 3 in.

A sauce-boat, a plate, a jug and a Ijottle and basin (Nos. 893, 922, 931 and 953) in the
Schreiber Collection and a mug in the Museum (No. 24-1885) are pieces of Staffordshire
salt-glazed ware evidently painted by the same enameller.

Sec p. 4. - F.^iJt( ially those cited in the note to No. 116.

XX.— CHINESE PORCELAIN.

Nos. 817, etc.

817. Tea-pot and Cover, painted in colours and gilt. On either side is the subject
of the Crucifixion, copied from a European engraving. The name "Allen
Loivustojt " is inscribed in red enamel on the bottom. About 1760.

Of the same form as No. 812. In the Crucifixion scene numerous figures appear groujjed
round the three crosses; in the foreground are Roman soldiers casting lots for the
garments of our Lord. The cover is painted with two floral sprays, the knob and
flange being gilt. H. 5 in., diam. 4j in. n u »>i t ,

From the inscription it may be concluded this tea-pot belonged to Hobert Allen, of the
Lowestoft porcelain works, who put his name upon it and probably painted the sprays
on the cover, which were certainly not e.xecuted in China. It has been suggested that
Allen also painted the Crucifixion groups, reference being made in support of this to
the east window of the parish church at Lowestoft, which was painted by him in 1819
with the same subject. This suggestion is, however, untenable. The tea-pot belongs to
the numerous class of objects decorated in China by native enamellers with religious
and other subjects copied from European prints.

Allen was born in 17^4 and died in 1835. He entered the Lowestoft factory as painter
in I7j7, and about 1780 became manager of it. .\fter it was closed he carried on an
enamelling workshop in the town in which he decorated wares of various kinds. Compare
p. 158 above; also Chaffers, Marks and Monngrams, p. 853; Spelman, p. 76: Church,
p. 9, ; Bushell, Chinese Art, ii., p. 40.

Burton, English Porcelain, fig. 71.

45. Pair or Vases, painted in colours and gilt. .'Xbout 1740.

Of hexagonal section, the upper part of the body swelling outwards and decorated with
vine-stems with tendrils, leaves and grapes and, amongst them, two squirrels, all applied
in relief and coloured after nature. The lower part is decorated with gilt-centred con-
ventional flowers and foliage reserved in white on a coral-red ground. Short flaring
neck, spreading base. Each, H. 5| in., diam. 2 in. ■ , , 1 •

These vases belong to the class of so-called " soft paste " porcelain, characterised by a _ thin
glaze with a surface resembling orange-peel, known by Chinese collectors as I-cn Img.
Compare Bushell, Oriental Ceramic Art, p. 320, Chinese Art, ii., pp. 25, 31.

725c. Coffee-cup, painted in colours and gilt. About 1760.

The shape and decoration are the same as those of tlie Plymouth colTeo-cups Nos. 7250 and h,
for which this piece served as a pattern. H. 2; in., diam. 2,''j in.

XXL— FRENCH (SEVRES) PORCELAIN.

The Sclireiber Collection includes two examples of the French
soft paste porcelain made at the Manufacture Royale de Porcelaine
at Sevres, a pair of groups in biscuit porcelain from models which
were imitated in Enj^land at the Chelsea and Derby factories.

No. 428.

428. Pair of Groups of Children in biscuit i)orcplain, known respectively ns
■' La Lanlevne Magiqiie" or " La CUiriasite" and " Lc Tourniquet " or " La Lotcrie."
Made in 1757 or shortly afterwards from models executed in that year by
Etienne Falconet (b. 1716, d. 1791) in adaptation of two groups in an
engraving by Charles Nicolas Cochin fils, entitled " Foire Je Campagiic," after a
painting by Frangois Boucher.

The first group represents children with a peep-show. A boy acting as showman stands on
one side of the peep-show ; a girl holding a basket of bread leans forward to look
into it, whilst a little boy peers over her shoulders from behind. H. 6^ in., \V. 6\ in.

In the second group two boys and a girl are gathered round a fortune-telling machine, watch-
ing the pointer ; a dog crouches at the feot of one of the boys, who is working the
machine, and a basket of fruit rests on the ground behind the girl. H. 6j in., W. ()j in.

Models of this pair of groups, dated 1760, in the collection of the Manufacture Nationale at
S&vres, are figured by Troudc, Choix de Modeles, pi. 24 ; compare also 15ourgeois, Biscuit
de Sevres, i., p. 46, ii., p. 7. The full titles are " La Lanterne Magiqiie montrce a la
Foire par le Savoyard " and " Le Tourniijuet preseiite a la Foire par le Marchand de Plaisirs."
Groups made in imitation at Chelsea are referred to in the catalogue of " Part of the
Remaining Stock of the Chelsea Porcelane Manufactory," sold by Messrs. Christie and
.\nsell on February i8lh, 1778, as "One group of a galantec-show, and one ditto
playing at hazard, in biscuit ; " see Nightingale, p. 50. The same groups appear
under Xos. 93 and 94 in the price-list of the Derby factory as " Group of three Figures
playing at Hazard" and "Group of three Figures at a Raree Show"; see Hasleni,
p. 1 7 J. An impression of the engraving from which the subjects are taken accompanies
the Collection, No. 1821.

INDEX.

References to the calaloL^ue numbers 0/ the objects are printed thus: 15; references to
pages thus : 15.

" Acceptance," group, 420.

Ace of Clubs, 258.

Acier, Michel \'ictor, modeller, 427a.

Actors, figures, 2, 3, 135, 135a, 136, 185, 186, 196, 204, 205, 676.

Adonis and Venus, 728.

Aeneas and Anchises, print, 71.

Aesculapius, figure, 418.

Aesop's Fables, 255, 352, 356, 384, 385, 387, 406.

Affenkapelle, figures, 172.

Agate intaglio, 312.

Ages of Man, Four, prints, 786.

Agreable Lefon, L', engraving, 192.

A'ir, figure, 731.

Allemande, La Danse, group, 415.

"Allen Lowestoft," inscription, 817.

Allen, Robert, painter, 817, 158-

America, figures, 8, 202, 684.

Amiens, peace of, 790.

Amour, L\ print, 131, 607, 611, 623, 628, 667.

Amsterdam, objects acquired at, 26, 3i, 95, 252, 313, 315, 408, 420, 483, 558.

Anchor mark, 29, 153; blue, 341, 349; gold, 192-196, 202, 246, 251, 336, 337,
347. 348, 362, 389 398, 438; red, 167, 171-174, 208, 218 220, 237, 244, 328,
338 340, 351, 361, 368, 369, 372, 373, 379, 384, 399, 400; relief, 138, 144,
150, 153, 167, 206, 210217, 236, 245, 334, 335, 375, 381-388.

Anchor and dagger, mark, 3, 13, 48, 62, 66, 67, 368,6.

Angouleme, due d", 463, 538, 798, 158-

Antwerp, figures bought at, 176.

Apple-green, 527, 528, 582, 582a, 82.

Argyle, Duke of, garden of, 561.

Arita porcelain, 30.

Arithmetic, group, 427a.

Artemis, statue, 684.

ylrfisi's Vade-Meciim, The, 500, 541, 561, 568, 2.

Arran, arms, 523.

Ashburton, Lord, collection, 729.

Ashbourne, view near, 792.

Asia, figures, 184, 685.

Askew, painter, 472, 77-

Astronomy, figures, 173, 411, 472.

Augustus 'the Strong, King of Poland, 26.

INDEX. 171

Aultmann, dealer, 327.

Autumn, figures, 23, 183, 193, 680, 681, 687, 688, 729, 730; groups, 180, 417.

Avon, near Fontainebleau, 138.

B, mark, 20, 421, 424, 492; S3, 134.

Bacon, John, sculptor, 20, 205 ; 5.

Bacchus, figure, 180.

Bacchus, Le Bosquet de, engraving, 59.

Bagpipe-player, figures, 10, 41.

Bajazzo, figure, 21.

Bandinel Collection, 349.

Barnes, Zachariah, potter, 151.

Barr, Martin, of Worcester, 492, 2, 81, 83, 161.

Battersea, enamel, 113, 177, 270, 271, 273-277, 290, 294, 488; Hancock at, G,

81 ; porcelain printed at, 131.
Beanflower scent-bottle, 303.
Bell and Black's match- factory, 132, 132a.
Bell-pull, 473.
Bellona, figure, 190.
Bentley, Richard, 65.
Beygere des Alpes, La, grou[i, 420.
Ber'tol, dealer, 731.
Betew, Panton, dealer, 304.
Bevington & Co., of Swansea, 163.
Billingslev, William, potter, 161, i6j.
Biscuit porcelain, 413, 419, 428, 429, 739, 65, 134.
Bishop, figure, 24.
Blanc dc Chine, 6.

Blemont, Barthelemy de, potter, 138.
Blenheim Collection, 409.
Bleu de voi, 284, 435, 438, 443, 445, 446, 467, 469, 476, 516, 574, 579, 586, 594,

602, 605, 613, 631, 633, 636, 642, 644, 656, 657, 65.
" Blind Earl's j)attern," 527, 528, 529, 587.
Block, dealer, a.
Bloor, Robert, of Derbv, 76, 77.
Blue, mazarine, 241, 250, 251, 254, 257, 264, 283, 343, 347, 31, 65; powder, 601,

604, 651, 658; scale-pattern, 478, 589, 650, 652, 661 ; see also bleu de roi.
Boasberg, dealer, 95, 315.
Bonhonnicves, 269-274, 276, 493.

Bone, Henry, enameller, 726, 727, 753, 768, 770, 777, 134.
Bone ash, 2, 4.

Bordeaux, cups bought at, 646.
Boreman, Zachariah, painter, 471, 792, 77.
Boscawen, Admiral, portrait, 554.
Bosquet de Bacchus, Le, engraving, 59.
Boucher, Frangois, painter, 171, 192, 420, 423, 428, 65.
Bow, factory, 35, 40, 52, 58, 88, 684, 1, 3, 4, 29, 76,83, 134, 167; ijorcelain, 1165;

Chinese porcelain decorated at, 816a, 165.

172 INDEX.

Bowcocke, Jcihii, 12, 20, 22, 6Q, 198, 330, vii, 4.

Boydell, J., publisher, 672.

" Brameld," mark, 794 796.

Tkameld t'v: Co., potters, 15(1.

Breloques, 307-310.

Briand, Tliomas, modeller, 739.

Brimstree, hundred of, 790.

Bristol, factories at, 2, 3, 83, 123, 133; porcelain, 87, 110, 496, 503, 684, 726,

728-780; statue at, 134.
" Bristoll," mark, 87, 134.
Britain, John, of Bristol, 110, 720.
Britannia, figure, 4 ; print, 555.
British Museum, 68, 242, 452, 516a, 4, 31.
Brittan, Francis, 110.
Brittan, John, 133.
Broseley, 149.

Browne, Robert, of Lowestoft, 15S.
Brownhills, factory, iig.

Brunswick, Prince Ferdinand of, portrait, 785.

Brussels, exhibition, 110, 133; objects acquired at, 182, 203, 330, 421.
Bryant and May's match factory, 132, 132a, vii.
Buckenham, sale at, 729.
Pnickles, shoe, 442.
Burke, Edmund, 780.
Burslem, 119, 153.
Busiri, designer, 672.
Butti, dealer, 134.
Button, dealer, 342, 523.

C, mark, 149, 164.

Caillot, dealer, 174.

Cambrian pottery, 163.

Canary-yellow, 54O, 576, 585, 660, 675.

Cane handles, 304, 305.

Canton, New, 357, 4, 167.

" Card toilette bottles," 258.

Cardiff, 161.

Carlyle, Thomas, 488.

Cars, Laurent, engraver, 139, 561.

Carter, dealer, 684.

Cascade, La, engraving, 789.

Castor, Temple of, Rome, 498, 499a.

Castle Green, Bristol, 123, 133.

Caughley, factory, i, 149, 154, 164; porcelain, 781 783, 790.

C.B.D., mark, 164.

Cerberus, figure, 142.

Chaffers, Richard, potter, 151.

Chamberlain, Humphrey, painter, 516a; Robert, potter, 81, 83.

"Chamberlains Worcester," mark, 516a, 675, 83.

INDEX. 173

Champion, Richard, potter, 726, 730, 731, 739, 133, 134; Sarah, 739.

Chapin, dealer, 401.

Charity, group, 181.

Charlotte, Queen, porcelain made for, 254, 347, 31 ; portrait, 492.

Charta, Magna, 201.

Chatham, Earl of, figure, 202, 31 ; portrait, 556.

Chelsea, Church, view of, 348; factory, 1-3,29, 65, S2, 168; model, 426 ; porcelain,
133-408, 438, 731, 6; Chinese porcelain decorated at, 811, 816, 165;
^^'edgwood's workroom at, 65.

"Chelsea 1745," mark, 157.

Chelsea-Derby porcelain, 327, 404, 409 458, 588, 65, 134; trinkets, 327.

Chetham, arms, 523.

China-clay, 2, 123.

Chinamen, figures, 140, 285.

China-stone, 2.

Chinese characters, marks, 35, 517, 619, 663, S3; porcelain, 45, 725c, 817, 168:
ditto, decorated in England, 81 1-816, 1O5 ; ditto, imitations of, 35, 50, 80, 101,
105, 108, 116, 128, 130, 132a, 151, 156, 158, 162164, 349, 373, 479, 483,
484,486, 596, 614, 616 619, 632, 634, 645, 653, 655, 674, 712, 713. 721, 723,
725, 725a, 757, f', 30, 81.

Christian, I'hilip, potter, 151.

Cibber, Mrs., actress, figure, 186.

" Ciihere, Les Cavaliei-s de," inscription, 270.

Clapham, Chelsea vases at, 241.

Claret-colour, 239, 336, 455, 456, 31.

Clerkenwell, 807.

Clive, ICitty, actress, figure, 135a.

Clubs, Ace of, 258.

Coalbrookdale factor\', 164.

Coalport factory, 149, 161, 164 ; porcelain, 810.

Cobalt-blue, 2.

Cochin, C. N., engraver, 59, 428.

Cock and Jewel, fable, 255.

Coke, Daniel Parker, of Trusley, 466.

Colonies, American, 202.

Columbine, figure, 198.

Comedy, figure, 557.

Commedia deW Arte (Italian Comedy), characters from, 21, 22.

Cc)mmerce, group, 427.

Continents, Four, figures, 8, 184, 202, 684, 685.

Convention, Anglo- Prussian, 4.

Conway, Field-Marshal, figure, 200, 31.

Cooke, crest of, 577.

Cooks, figures, 20.

Cookworthy, William, of Plymouth, 134, 726, \iii, 123, 133: family, crest of, 743.

Cooper's Company, London, 438.

Copeland, W. T., potter, 154.

Cornelian uitagli, 313 323.

Cottage china, 134.

174 INDEX.

Coventry, Earl of, 527.

Cowles, William, service made foi, 770.

Cox, James, of Chelsea, 29.

Craenen, dealer, 203.

Craft, Thomas, of Bow, 68, 4.

Crescent, mark, 83, 155; black, 631; l)lue enamel, 574, 586, 644; blue printed,

520, 521, 571, 803a; blue, underglaze, 479, 490, 496, 508,530, 579, 589, 616,

618, 626, 633, 642; gold, 644; red, 625.
Crcwkerne, arms, 523.
Crispe, china- maker, 20.
Crispin, dealer, 12.
Cross, mark, 6, 134 : blue, 723, 746, 748, 750, 753, 754, 758, 759, 761, 764766, 769,

770, 772, 773, 775-778, 780; incised, 564; red, 65, 106.
Crossed swords, mark. See Swords, crossed.
" Crown Derby " porcelain, 77.
Crowther, John, 4 ; Robert, 4.
Cumberland, Duke of, 133, 135a, 2f).
Cupid, figures, 265, 270, 292, 295, 300, 319, 323, 327, 409, 410, 422, 426, 429;

painted, 449.
Cupids, groups of, 411, 427, 427a.
Curiosite, La, group, 428.

d, mark, 38.

D, crowned, mark, 460-467, 471, 472, 474-477, 76; with anchor, mark, 440,

443-447, 450, 452-455, (5
Dagger, mark, 53.

Dagger and anchor, mark, 3, 13, 48, 62, 66, 67, 368, 6.
Dance, Nathaniel, painter, 205.
Danse Allewande, La, group, 415.
Daphne, figure, 263.
Davenport, John, potter, 153.
"Davenport, Longport," mark, 791.
Davis, William, of Worcester, Si.
Davlesford House, Sale, 339.
Deift ware, Bristol, 110.
De Grasse, Admiral, 465.
De Maan, dealer, 735.
Denmark, Crown Prince of, 264.
Derby, factory, 1-4, 29,30,65, 76, 119, 161, 169, 428, 731, 792; porcelain, 409-477,

684, 153 ; trinkets, 327.
Derwent, view on the, 471.
" De Vaux, Miss," inscription, 497.
Devonshire, Duchess of, 452.
Diane Chasseresse, statue, 684.
Dillwyn, Lewis Llewelyn, M.P., 809.
Dilhvyn, Lewis Weston, 163.
Dirksen, dealer, 413.
Discretion, statuette, 410.

IXDEX. J 75

Diseiise d'Aventure, La, engraving, 561, 610.

Distilling, figures, 296.

Dixon, J., engraver, 205.

Dovedale, view of, 792.

Downes, arms, 493.

Dyaiightsman's Assistaul, The, 2.

Drummer, figure, 18.

Dresden, 172, 30, 167; porcelain bought at, 791.

Dublin, National Museum, 134.

" Duck's Egg," porcelain, 163.

Duesbury, William, of Derby, 138, 174, 4, 29, 65, 76, in)

Dwarfs, figures, 167.

Dyson Perrins Collection, 787a, 82.

Eagle and Jackdaw, fable, 356.

Earl's pattern, Blind, 527-529, 587.

Earth, figure, 731, 732.

Eberlein, Johann Friedrich, modeller, 180, 181.

Edinburgh, bust acquired at, 134; painting at, 177

Edkins Collection, 739.

Egg-shell porcelain, 814, 816.

Elements, Four, figures, 731, 732.

Elizabeth, Queen, bust, 557.

Ely, Marquis of, arms. 523.

Emden Collection, 180.

Empire style, 791.

Esdaile, William, Collection, 241.

Etuis, Chelsea, 262-268.

Evans, Sevres painter, 726.

Exchange, Royal, bust at, 134.

Exeter, porcelain bought at, 801.

F, mark, 96.

Faber, John, engraver, 554.

Fable candlesticks, 255.

Fables, Aesop's, 255, 352, 356, 384, 385, 387, 406.

Falconet, Etienne, sculptor, 415, 420, 428.

FalstalT, figures, 135a, 136, 204.

Fame, print, 488, 547, 549, 552, 553, 555, 556.

Famille rose, 101, 116, 645, 167; vei'te, 713.

Faulkener, Sir Everard, 30.

Fen Ting, porcelain, 45.

Fcng-hiiang, 349.

Ferdinand of Brunswick, Prince, portrait, 785.

Fetes, Veniliennes, engraving, 177.

Fife-player, figure, 18.

Fine Gentleman, The, figure, 135.

176 INDl'X.

Fine Lady, The, figure, 1 35a.

Fire, figure, 731.

Fitzlienry Collection, I.

Fitzwilliain, Earl, 156.

Flaudin, Madame, dealer, 416.

Flight, Thomas, and Sons, 81, 149, 161.

Fogg, dealer, 20.

Foire de Caiupagnc, engraving, 428.

Fontainebleau, 138.

Forum, Rome, prints, 498, 499a.

Fox, Dog and Cock, fable, 352.

Fox, Henry, Lord Holland, 30.

Fox, Miss, viii.

France, porcelain, 2 ; war with, 790.

Fraiifois I., Nourrice de, 138.

Franke, J. H. C, painter, 696.

Frankfort-on-the-Main, objects bought at, 121, 327.

Franks, Sir A. WoUaston, 683.

Frederick the Great, 4, 254; figure, 696; portraits, 113, 488, 505, 547, 549.

Freemasonry, emblems, 86, 545, 558.

French porcelain, 428, i(>8 : sprig pattern, 463, 538, 1,5?.

Fretted square, mark, 478, 507, 523, 537, 588, 599, 602, 604, 608, 615, 622, 635,

654, 656, 661, 83.
Frit, I.

F'rve, Thomas, of Bow, 35, 4-

Fuchien porcelain, imitations of, 50, 80, 132a, 151, 156, 158, 162-164, 6.
Fiirstenberg porcelain, 282, 463.

G, mark, 414, 416, 430, 435, 805.

Gainsborough, Thomas, painter, 541, 560, 784, 82.

Galantee-show, group, 428.

Gallant kissing his hand, figure, 26.

Ganz, dealer, 252, 483, 558.

Gardeners, figures, 23, 689.

Gavniiures de Lhemuicc, 192, 193, 706, 707.

Garrick, David, 135; ligures, 135a, 185. 205, 676.

Geometry, figure, 411.

German porcelain, 2, 167.

George IL, 29, 133; bust, 134; portraits, 4, 546, 551.

George HL, 254, 347, 492; arms of, 790; portrait, 555.

Gilbody, Samuel, potter, 151.

Giles, enameller, 167.

Gisburne, Rev. Thomas of Derby, 452.

Goatherd, figure, 734.

Gorkum, dealer, 259.

Gouyn, Charles, 29.

Graham, Sir Bellingham, arms, 572.

Granada, porcelain bought at, 273.

Granby, Marquis, figure of, 6, 5 ; portrait, 553.

INDEX 177

Great Newport Street, workroom, 65.

Green, Guy, of Liverpool, 131.

Greenwich, statue at, 134.

" Greethead, Josiah & Catharine," inscription, 757.

Griffin, mark, 794-796, 156.

Grignion, Charles, engraver, 562.

Guerto, iVIrs., dealer, 801.

Guest, Mr. Ivor, 487.

Hague, objects acquired at The, 18, 264, 413.

Haliburton, Mrs., Collection, 730.

Hamburg, objects acquired at, 276, 409.

Hamburger, dealer, 332.

Hamilton, arms, 523.

Hampton, villa at, 135a.

Hampton Court, vase at, 237.

Hancock, Robert, engraver, 131, 487, 488, 492, 500, 505, 541. 549-551, 553,

555 557, 561-563, 568, 607, 610, 611, 623, 627, 628, 630, 666 668, f , Ni
Ilandelaar, dealer, 421.

Hanley Museum, 119; porcelain, 803a, 155.
Hard paste, i, 2, 123, 133.
Harford, Joseph, of Bristol, 780.
Harlequin, figures, 178, 198, 318.
Hastings, \\'arren, pattern, 339.
i layes, arms, 816a.
Hayman, Francis, painter, 135, 562.
" Hazard, playing at," group, 428.
Heath, John, of Derby, 29, 76.
Henry V., bust, 557.
Herculaneum potteiy, Liverpool, 151.
Hercules, figures, 139, 412, 413.
1 leylyn, Edward, of How, 4.
Hickey, Joseph, of Bristol, 780.
I listory, figure, 472.
I loare, ^^'iIliam, painter, 556.
Holdship, Josiah and Richard, of Worcester, 488, 546, 540, 550, 607, 623, 628,

667, 82.
i lolland, Lord, 30.
I lolland House, 30.
I lop-trellis pattern, 605.
Hopetoun, Lady, 683.
Horse and Stag, fable, 387.
Horse Guards, uniform, 6.

I louston, Richard, engraver, 5, 6, 488, 547, 552, 553, 556.
Hudson, 15enjamin, 572.
Hughes, Mr., of Liverpool, 71.
I lume, arms, 523.

Hurdy-gurdy player, figure-, 178, 738.
1 lussar, figure, 199.

,78 INDEX.

Hydra, Hei-culcs and, group, 412, 413.

Hygieia, figure, 410.

"Hyson Tia," inscription, |12.

I, marl<, 18.

Imari ware, imitations of, 3^7, 663, 30, 82.

Indian women, figures, 8, 202, 684.

Intagli, 312-323.

Isleworth porcelain, 106.

Italian Comedy, figures, 21, 22.

Italy, porcelain in, 2.

Jackdaw, the Vain, fable, 255.

Jackfield pottery, 164.

Jacob, dealer, 728.

jade, Chinese character for, 35.

"Japanese porcelain, imitations of, 42, 55, 69, 91, 98. 127, 237, 238, 337, 346,

350, 382, 383, 388, 403, 405, 507, 508, 535, 597, 599, 604, 624, 638, 639,

641, 647, 659, 663, 718, 745, 82.
Jasper lid, 273-

"Jet-enamelled" porcelain, 539.
Jewitt, Llewellynn, collection, 236.
Joss-stick holder, 150.
jubilee of George III., 492.
June, J., engraver, 39.
Jupiter, symbol for, mark, 123.
Jurnel, dealer, 425.
Justice, figure, 182.

K, mark, 27, 123.

Kaendler, Johann Joachim, modeller, 17, 21, 25, 26, 29, 94, 172, 174, 188, 197,

198, 5

Kakivemon, potter, style of, 42, 55, 69, 91, 98, 127, 237, 238, 349, 350, 382,
383, 388, 403, 405, 597, 624, 641, 659, 6, 30.

Kalb and Soujet, dealers, 408.
Kaolin, 2, 123.
Kean, Michael, of Derby, 76.
Kent, William, sculptor, 557.
Kentish Town, 167.
Kingsbridge, collection at, viii.
Kite, Mr., of Devizes, 110.
Kneller, Sir Godfrey, painter, 431.

L, mark, 788.

L, double, mark, 646, 683, 76, S3, 119.

" Labrado," inscription, 554.

Ladies' Amusement, The, 39, 110, 484, 630, xvii, 2, 4, 82.

Lantevne magique. La, group, 428.

Lazarus, dealer, 254.

IXDLX. 179

Lear, King, figure, 137.

Le Bas, J. P., engraver, 423, 82.

Leclerc, F. G., medallist, 432.

Leda and the Swan, group, 171.

Lemoyne, Frani^ois, painter, 139.

Lequoi, painter, 726.

Lethe, Garrick's, 135, 135a.

Lettuce-leaf dishes, 342.

Lion and Mouse, fable, 384.

Lissauer, dealer, 409.

Littler, William, potter, iig.

Liverpool porcelain, 784-789, 151.

Lock, author, 201.

Loftus, Nicholas, arms, 523.

London, objects acquired in, 58, 322, 342, 504, 523, 740; porcelain enamelled in,

65, 572, 806, 807, 161, 1O5, 107; wareliouscs ni, 83, 158.
Longport porcelain, 791, 133.

Longton Hall porcelain, 676-683, 788, i, 3, 119.
Lonsdale, Earl of, Collection, 337.
iMcrie, La, group, 428.
Louis XVL style, 65, 83, 134.
Louisbourg, capture of, 554, 784.
Louvre, Paris, works of art in, 139, 684.
" Love in disguise," figure, 426.
Lowestoft church, 596, 817; factory, i, 3, 15S ; porcelain, 797-799; " trille from,"

797, 798.
Lowris' china house, 87, 133.
"Lucreticv, Doinina'," inscription, 176.

M, mark, 416, 155.

Macarony dog and cat, figures, 416.

Madrid, figure bought at. 7.

Magna Charta, 201.

Mann, Sir Horace, 254.

Manners, General John, ligure, 6 ; portrait, 553.

Maries, Three, group, 170.

Marlborough, Duke of, Collection, 409.

Mars, figures, 190, 552, 553; symbol for, marl<, 5.

Martindale, arms, 573.

" Mascoraders," figures, 174.

May-blossom decoration, 249.

May Day, engraving, 562, 563.

Mazarine-blue, 241, 250, 251, 254, 257, 264, 283. 343, 347, 31, 65.

McArdell, James, engraver, 135, 143, 204, 492, 555.

Merklenburg-Strelitz, Duke of, 254, 347, 31.

Meissen factorv, 2, 5, 167; mark, 401, 668, 764, 771, 774, 779, 7C., 83; models
for figures, I, 17, 21, 25, 26, 29, 94, 166, 172, 174, 180, 181. 188, 189,
195, i97, 198, 280, 330, 427a, 430, 5, 134; porcelain, 101. 102. 116; style,
245, 335, 339, 372, 378, 386, 390, 407, 30, 82.

I So INDEX.

Mercury, figure, 179; symbol for, mark-, 2, 147, 5.

Mersey, River, 151.

Merthyr 'lydfil, 161.

Metz, figures bouglit at, 731.

Meyer, Jeremiah, painter, 555.

Minden, battle of, 6, 553, 785.

Minerva, figures, 7, 412, 413, 556.

Minerva Medica, Temple of, Rome, 664a.

Minton, Thomas, potter, 180, 470, 803, 154.

Minuet dancers, figures, 177.

Mirror, stand for, 250.

Monkey orchestra, figures, 172.

Moon, Chinese character for, 617.

More, Hannah, 739.

Morpurgo, dealer, 313.

Morley, Earl, 726.

Mortlock, John, dealer, 806, 807.

Mosley, Charles, engraver, 13Sa.

Mould for porcelain, 132.

Munchen, dealer, 18.

Murray, Capt. H. B., bequest, 421.

Music, group, 424.

"Music Lesson," group, 192.

Musicians, figures, 425.

N, mark, 457.

Nantgarw porcelain, 804-807, 161, 163, 164.

" NANTGARW c. w.," mark, 804, 806, 807.

National Portrait Gallery, 556.

Negroes and negresses, figures, 16, 17, 29, 187.

New Canton, 4.

New Hall factory, 2, 133.

Nilson, J. E., engraver, 192.

" No.," mark, 65.

Nceiid de Cravatc, Lc, grouji, 420.

Nollekens, sculptor, 304.

Norman, Mr. Emerson, 167.

Norwich, figures from, 167.

Nottingham, 466.

Nouryice dc Fraufois I., figure, 138.

Numerals, marks, 108, 112, 129, 158.

Nursing figures, 138, 301.

O, mark, 434.
Omphale, figure, 139.
Oppenheim, 299.
Oracle, L\ group, 420.
Orchestra, monkey, figures, 172.
Ornevtanistes, 2.
Otaheite swallow, 809.

INDEX. i8i

J', mark, 38.

Painting, figure, 173.

Palissy, Bernard, potter, 138.

Paris," objects acquired in, 12, 174, 299, 401, 416, 425 442; statue in 684.

Parrot pattern, 645.

Partridge pattern, 69, 91, 624, 641, 659, 6; tmeens, 330.

Paste of English porcelain, i.

Pastille-burners, 249, 741.

Patch-boxes, 275, 277.

Patel, Pierre Antoine, painter, 489, 608.

Pea-green, 246, 247, 31.

Peak, Derbyshire, view in, 471.

Peddie, arms, 523.

Pedlar, figure, 168.

"Pencilled porcelain," 518.

Pennington, Seth and John, potters, 151.

Pensent-ils an raisin? group, 423.

Pesne, Antoine, painter, 113, 488, 547, 549.

Petuntse, 2.

Phillips, Charles, engra^•er, 409.

Piccadilly, 516a.

Pigeon tureen, 329.

Pillement, Jean, designer, 482, 609, 2, 82.

Pinxton factory, 466.

Pipe-bowl, 494.

Pipe-clay, 4.

Pitt, William, the Elder, figure, 202; pcjrtrait, 556.

Plenty, figure, 419.

Pluto", figure, 142.

Pluyne, Van der, dealer, 180, 463.

Plymouth, factory, 2, 133; porcelain, 684-727.

Pococke, Dr., 133.

Poland, King of, 26, 254.

Polwortli, arms, 523.

Pond, Arthur, engraver, 143.

Ponte Rotto, Rome, 672.

Pope, Alexander, bust, 431.

Popolo, Piazza del, Rome, 664a.

Pots, Two, fable, 385.

Powder-blue, 601, 604, 651, 658, "^J.

Prideaux Collection, 691, 695, 706, 707, 710, 712 714, 717, 720-727, 752, 770.
viii, 123, 134.

Printing on porcelam, 2, 6, 81, 134, 149, 151, 154; black, 4, 58,61, 65, 73, 88, 89,
93, 122, 482, 487 489, 492, 498 500, 505, 522, 532, 533, 539, 545 569, 607,
610 612, 623, 627 630, 665 668, 670, 672, 784 786, 789, 796; blue, 520, 521,
571, 759, 790, 803a; Inown, 59a, 59b, 76, 664; crimson, 470, 669; grey, 620;
iliac, 124, 125, 481, 513, 541, 570, 664a, 671; purple, 77, 608, 609; piuplish-
black, 59, 74 ; red, 71.

" Proposal," group, 420.

1 82 INDRX.

Prudence, figure, 410.

Prussia, arms of, 4; King i.f, 113, 254, 488, 505, 547, 549, 696

Punch, figures, 167, 137.

Punch-pot, 363.

Ouail-pattcrn, 69, 91, 624, 641, 659.
Quebec, battle of, 5, 552, 784.
Queen's Square, Bristol, statue, 134.
Quin, James, actor, figure, 135a, 136, 204.

R, mark, 192, 193.

Rabbit tureen, 328.

Rafter, Kitt_v, actress, figure, 135a.

Ramsay, Allan, painter, 554.

Randall, enameller, 807.

Ranelagh figures, 176.

Raphael, dealer, 7.

Raree-show, group, 428.

Reaper, figure, 191.

Red Indian woman, figure, 8.

Reynolds, Sir Joshua, painter, 6, 105, 508, 553.

Rhodes, David, enameller, 61, 65.

Richard III., figure, 135a, 205, 557.

Richmond, figures bought at, 730.

Rights, Bill of, 201.

Robins and Randall, enamellers, 807.

Robinson, enameller, 65.

Rockingham, Marquis of, i ^r,.

Rockingham Works, 794-796, 156.

Rodney", Lord, 465, 555.

Rohnstock, portrait at, 113.

Rome, views in, 125, 498, 499a, 664a, 672.

Rose, John, jxitter, 149, i(">4.

Rose, jamilh\ 101, 116.

Ross, James, engraver, 558; 82.

Rotherham, 156.

Rotterdam, objects acquired at, 180, 209, 273, 300, 328, 463, 735, 736, 738.

Rotto, Ponte, Rome, 672.

Roubiliac, Louis Francis, sculptor, 23, 178, 192, 193, 31.

Rousseau, Jean Jacques, bust, 432.

"Rural Lovers, The," print, 541.

Rysbrack, sculptor, 134.

S, mark, 781, 149, 164.

S, double, mark, 803, 154.

Sadler, John, printer, 612, 784, 785, 151.

St. Vincent, Cape, battle of, 555.

Salisbury, exhibition at, 168, 219, 225, 229, 232, 690, 703; mug bought at, 108.

INDEX. 183

Salopian porcelain, 140.

Salt-glazed ware, 53, 116, 117, 4<>6, 503. 119, 167.

Samuel, dealer, 740.

Saqui, painter, 726.

Saver, Robert, publisher, 541, 568, 627, 670, 2, Sj.

Savers, dealer, 646.

Saxon Court Orchestra, 172.

Saxon Porcelain Manufactory, Royal, 167.

Saxonv, Elector of, 26.

Scale-pattern, 478, 589, 650, 652, 661, 82.

Scheemakers, Peter, sculptor, 313, 557.

Scent-bottles, 166, 262, 279-303.

Science crroups, 411.

Scotin, G., engraver, 789.

Scotland, National Gallerv of, 177.

Seals, 312-325, 327.

Seasons, figures and groups, 12, 23, 27, 95, 169, 180, 183, 191, 193, 195, 417, 421.
430, 680, 681, 687, 688, 695, 729, 730, 786.

Senatorial Bridge, Rome, view (;f, 672.

Senteuv, Eau de, 282.

Seven Years' War, 113.

Sevres, factory, 726, 2, 169; mark, 646, 7(\ S3. 155: models, 415, 420, 435; porce-
lain, 171, 428; style, 449, 453, 605, 613, 657, 791, 31, 161.

Shakespeare, figure, 313; print. 557.

Sharp, music, mark, 35, 83.

Shelton porcelain, 133.

Shepherds and shepherdesses, figures, 194, 735, 736.

Shorthose, John, potter, 155.

" Shorthose & Co.," mark, 803a.

Shropshire potteries, 149.

Silversmith's work, 157, 29, 81.

Sinclair, arms, 523.

"Small," incised mark, 421.

Smith, Capt. II., sketch by. 5, 552.

Smith, J., engraver, 431.

Soapstone, 2, 81.

Soft paste, 45, i, 133.

Soho, 29.

Spa Fields, 807.

Sprimont, Nicholas, of Chelsea, 29.

Speyer, dealer, 420.

Sphinxes, figures, 143, 144.

" SPODE," mark, 800-802.

Spode, Josiah, potter, 2, 153.

Spring, figures, 12, 193, 195, 430, 687, 688, 695, 729, 730.

Square, fretted, mark. 478, 507, 523, 537, 588, 599, 602, 604, 608, 615, 622, 635,
650, 654, 656, 661, 83.

Staffordshire porcelain, 36, 47, 117, 332, 354, 470, 676 683, 791, 800-803a, 2, 81,
119, 133, 153-155; salt-glazed ware, S3, 496, 503, 167.

iS4 INDEX.

stairs, L.hIv, 69.

Stand for a mirror, 250.

Steatite, 2, 81.

Stephens, William, 769, 778, i34-

Stern, S., dealer, 276.

Stockholm, National Museum, 171, 423.

Stoke-upon-Trent, 470, 800-803, 119, 153. i54-

Stork, figure, 150.

Strawberry Hill, 135a.

" Street, Richard," inscription, 792.

Stroobant, dealer, 182.

Stuart, arms, 572.

Sullivan, Luke, engraver, 487, 541, 560, 562.

Summer, figures, 191, 193, 417, 729, 730.

Sunflower dishes, 345.

Swallow of Otaheite, 809.

Swansea factory, 161, 163, 164 ; mark, 808, 809.

Swinton porcelain, 156, 793-796.

Swords, crossed, mark, 401, 407, 668, 764, 771, 779, 9, 31, 76, 83, 134.

T, mark, 51, 65, 711.

TafE Valley, 161.

Tancred, Garrick as, figure, 185.

Taraval, |. H., painter, 432.

Targett, dealer, 108.

"Tea Partv, The," print, 131, 500, 610, 668.

Tebo, modeller, 5-7, 10, 11, 41, 43, 51, 711, 729-732, 734, 737, 738, 5. ^j> '31-

Tehua, province, 6.

Tennyssen, dealer, 264.

TF, monogram, mark resembling, 35, 38, 52, 58, 83.

Thibaud, modeller, 5.

Thorns, Merton, Collection, 568, 670, 2.

Thomson, poet, 185.

Thimble, 306.

Thorp Cloud, view of, 471.

Time and Love, group, 409.

Tin, sign for, mark, 706, 707, 709a, 711-718, 720, 721, 723, 724, 726, 727, 123, 134.

Tim;, porcelain, 45.

"T'ithe Pig, The," group, 203.

T', mark, 5-7, 10, 11, 41, 43, 51, 711, 729, 731, 737, 738, 5. ^2, 134-

Tobacco-stopper, 311.

" Topers, The," figures, 694.

Tournai porcelain, 731.

Tourniquet, Lc, group, 428.

Toys, Chelsea, 30.

Tragedy, figure, print, 557.

Trajan's Column, views of, 498, 499a.

Transfer-printing, 81, 134, 149, 151-

Trapnell Collection, 720.

INDKX. 185

Tregellis, Miss, viii.

Triangle, mark, 157, 160, 333, 377, 2 j.

Triangle player, rigur(\ 738.

'i'rident, mark, 84, 808, iG^.

Trinkets, Chelsea, 327.

Triton, figure, 414.

Trusley, 466.

Turkish costume, figures in, 2, 3, 25, 29, 196.

Turner, Thomas, dealer, 139, 150, 175.

Turner, Thomas, potter, 149, 164.

Turquoise-blue, 276, 31.

Tyers, Jonathan, 562.

Union Jack, mark, 83.

Utrecht, objects acquired at, 259, 332, 431.

V, mark, 673.

Van der Pluyne, dealer, 463.

\'andyke, Anthony, painter, 409.

Van Galen, dealer, 26.

Van Herck, dealer, 176.

Van Minden, dealer, 209, 273, 300, 328.

Vauxhall Gardens, 562.

Vcniticiincs, Fetes, engraving, 177.

Venus, figures, 9, 728.

\'espasian. Temple of, Rome, view, 125.

Vienna porcelain, 411.

Virgin, figure, 170.

Vivaudicre, Mrs. Gibber as, 186,

Vivares, Francis, engraver, 489, 541, 608, 672.

\'olunteer movement, 790.

W, mark, 485, 580, 605, 83.

Wales, Princess Dowager ol', 488, 547.

Walker, R., drawing by, 110.

Walker, Samuel, potter, 161, 163.

Wall, Dr. ]ohn, of Worcester, 787a, Si.

Wallace Collection, 789.

Walpole, Horace, 1 35a, 200, 254, 773, viii, 29.

Waltzers, figures, 174.

Wanitz, dealer, 174.

Wasters from Bow factory, 132a, vii, 4.

Watch-chain pendants, 307-310.

Watelet, C. II., engraver, 432.

Water, figure, 731.

Watteau, Antoine, painter, 59, 177, 561, 610, 661, 789, 82

Weatherby, of Bow, 4.

Webster, Moses, painter, 807.

i86 IXDKX.

Wedgwood, Josiah. potter, 65, 414, 5, 134.

Wemyss, Earl of, CoUecUnn, 6, 553.

West Indies, battle in, 465.

Westminster Abbey, 313, 557.

Whiteford, Mr. Sidney T., 726, 743.

Whitton, Middlesex, view at, 561, 566.

Wilkes, John, figure, 135a, 200, 201.

Wille, J. G., engraver, 113.

Willett Collection, 157.

William III., statue, 134.

William IV., 156.

William Augustus, Duke of Cumberland, 29; bust of, 133.

Williams, Sir Charles Hanbury, 30.

Wilson, Thomas, of Bridlington, 572.

Wimborne, Lord, 487.

Winter, figures, 12, 27, 95, 169, 193, 195, 421, 688, 695, 729, 730.

Withers, Edward, painter, 465, 77.

Woffington, Peg, actress, 143.

Wolf and Crane, fable, 384.

Wolf and Goat, fable, 406.

Wolfe, General, figure, 5, 5; portraits, 552, 784.

Wolfsohn, dealer, 791.

Woobourn, Surrey, view at, 487, 541, 562.

Woodward, Henry, actor, figure, 135.

Woollett, William, engraver, 561, 566.

Worcester Corporation jug, 578; factory, 450, 1-3, 6, Si, 134, 149, 161; porcelain, ;

478-675, 713, 15S ; Chinese porcelain decorated at, 812-815, i(>b ; Works I

Museum, 53, 75, 518, 555, 645. {

Worlidge, Thomas, engraver, 135a, 546. |

"Wreathing" in Plymouth, porcelain, 123. ■

Yorkshire porcelain, 156.
Young, William Weston, potter, 161.
Yii, Chinese character, mark, 35.
Yueh, Chinese character, 617.

Zodiac, signs of, 730. j

Platk I

227

7
188

197
HOW.

Plate

^J;^ it ^

. f^

vMt ^ tfS

4?
1

181

198

BOW.

Plate 3

4. JiinTAN.NIA.

B()\\".

Plate 4

Plate 5

Plate 6

Plate 7

23. AinuMN.
BOW.

Plate 8

5 9

Plate 9

143 701 136 146 143
158 152 149 162 164

154 155 151 147 159
BOW.

Plate io

137. King I.i.ak.
130\V.

Plati-

142

141

113

HOW.

Plate 12

m O

Plate 13

105

51
86

109

564

119
368

r.ow.

106

107
t

Plate 14

166

133

301

161

134

157

CI 11; I. SKA.

Plate 15

Plate i6

139. Hhkcui.es .AND Omphai.i:, after I.ciiKiyno.

Plate 17

Pl.ATIi l8

•w*

^-"x^

^o-^.

■^

i^^«>^'^^ ^

174

229

207

183
172

207

230

173

167

208

167

173

211

219

175
ClIlvLSlC \.

219

218

Plate iq

168

202

168

187

186

184

185

187

190

170
CIIICLSKA.

190

Plate 20

171. l.i;i)A AND I HE SWAX.

CHELSEA.

Plate 21

182
201

176
204 200

CHKI.SKA.

Plate 22

Plate 2^

191

CIlI'.l.SKA.

Plate 24

192. 1 HI, Music Lksson. .Modellcil by Roubiliac after Bmiclicr.
CUKLSKA.

Plate 23

~ s.

Plate 26

196

Clll'LSKA.

Platk 27

202. I. OKU CiiATriAM.
CIIKI.SKA.

Plate 28

2; J

CM —

Platf, 29

237
CIIKLSKA.

Plate 30

Plate -^i

194

240

194

255

241

255

Clll.l.SI-

;.\,

Plate

Plate 33

f ^ ^l^

A'- E;

/i^-.■^

290 195 300 199 285 195

294

288

283

289

297

299

293

292

291

298

274

209

303

269

275

276
CllKLSKA.

272

277

Plate 34

363

369

120

371

121

366

367

399
372

374
373

351

328

361

259
CIIl'LSKA.

379

Plate 35

377

352

378

376

333

375

383

405

356

388

387

346

CHELSF.A.

385

Plate 36

243
386

341

339
334

CHKLSL

340

245

401

Plate 37

Plate 38

253

390

248

396

389

439

250
CIIEI.SKA.

362

253

Plate 39

Plate 40

414

180

179 409

205 424

CHELSEADI-.KP.V.

Plate 41

419

426

410

433

410

429

427a

430

427

430

411

425

431

418

432

425

416

203

415

417

415

CI IK

:i.SK.\-i)i'

I'.V.

Plate 42

1'latk

423. Pensciit-ils an Raisin, aftei- Rouclicr.
CllKI.Si;.\I)i:RliV.

Plate 44

413. Minerva crowning Constancy.
CHF.LSE.'\-I)KRHY.

Plate 45

392

258
452

446

456

242

437

394

444

455

45'

451

441

448

Clll-I.SI'.A-Dl-.RI'.V.

Plate 46

Platk 4^

Plati-; 48

436

4S'J

435
463 468

469 453

477 465 477

472 460 472

CHELSKA- DERBY anu DERnV.

Plate 49

Plate 50

478

WORCESTER

Plate 51

\VOKCI£STER.

Plate 52

Plate 53

35
WORCESTER.

Platk 54

Plate 55

599

480

597

643
659

486
588

639
624

517

97
WORCESTER.

641

Pl.ATK 56

487

558

488
499a

565

607

609

672

FORCES ri:R.

568

620

Plate 57

489 549

WORCESTER.

Plate 58

545

561

566 554

563

125

570

608 569

124

555

556

629

539
WORCi'.STKR.

630

Plate 59

c-*... ' -^

Plate 6o

506

511

540

543

WORCESTER.

Plate 6i

719
75

618

53 617

534
634

118
518

WORCI-.Sl'ER.

Plate 62

578

576
673

542
544

WORCESTER.

577

484
674

Plate 63

503

589

595

606

613

615

663 483

502

482 661

512

594

509

WO I

ai'.sr

■,R.

Platk 64

i-.

^ t;j=:^*^-*-

658

523

658

592

485

600

593

581

603

582a

504

\V{)RCi:STKR.

585

r =L

Plate 65

,:V>»v>^I%,lJ,;^,^

"■iSacqiijIiu

575

583

590

537

520

WORCESTER.

574

584

I''late 66

573. -Mrc, dated " Aprd ^tli, 177c

587

\V()UL■l•:s^I•l^

Plate 67

599

604

Pl.ATK 68

516a

W()RCl':S'ri'.R iClianiberlainV).

117
LONGTOX II AI.

Plate 6g

679 677

I.DXC'IOX MALL.

Plate 70

680

683

678

189

682

681

169

332

LO.\(i

I'I'OX HAIL.

Plate 71

LONG TON IIAIJ..

Plate 7;

684. An[i:k'IC.\.

685. Asia.

I'l VMDiril.

Plate 73

687
PLYMOUTH.

735
BRISTOL.

Plate 74

757

689

703

689

697

710

698

691

696
l'I.^-\l()C

I'll.

691

712

Pr.ATr 75

690 693 690

38 718 717 688

707 688 707 688 707
I'l.YMOLTM.

Plate 76

Plate 77

733

728
731

r.Ris'roL.

733

Plate 78

i b

Plate jg

729. \\'ixrKR AND Sprixg.

730. Spring a.\i. Winter.
T'.RIS'|-OI,.

Plate

Plate 8i

737

711

737

760

770

761

738 744

739

746

738

755

734
I'.KMsTOI,.

753

Platk 82

740

'.RisruL.

Plate 83

r>RIST<)l, Suit paste porcelain.

Plate 8^

716

'.RisTOL OK i'],v.\ior'rii.

Plate 85

Plate 86

Plate 87

n«

fc-i3

790

784

789
.I\'KRI'(K)L.

785

Plate 88

Plate 89

129

108

797

130

123

596

123

l.OWKS'I'OFT.

Plate go

792

Jug of Uncertain Origin.

798

LOWKS rOl'T.

Plate gi

m 5 z

Plate 92

(M O

O Li,

Plate 03

I (2)

6 (20)

-/-

10 (65)

15 (157)

/.^

2 (3)

4 10

7 (96) 8 (104)

9 (66)

II 106) 12 (84) 13 (514)

BOW.

Nr^

17 '373

lb ilSOi

(349)

31' 1 445 J

(407)

\I/

19 (340-

5 '18)

14 i515)

27 (457)

V -

I 1

:8 (4241

20 (246) 21 (219) 22 (196) 23 (193 2.| 401

CIIICLSEA AND CIIKI.SKA Dl.l'ir.V.

1 he numbers in brackuts arc those of the nbiects from which the m.irkb an- taken.

Plate 94

29 (466)

30 (465) 31 (476)

DERBY.

V- (474)

33 (683j

I-ONGTON

HALL.

3+ (35)

35 (35)

3& (53)

37 (38)

-^n c ^ t

40 f644)
38 (580) 39 (529) 41 (641)

44 571J

4^8

4- 1635

43 1668

43 656 J

46 (646)

47 I517j

48 (492) 49 (516a I

WORCESTER.

50 (675)

The numbers in brackets arc those of the objects from which the marks arc taken.

Plate 95

51 l27i

56 (738)

'■n-

52 (713)

57 (753)

"IE"

54 (716:

53 i707)

PI.YMOITH.

-L

(723)

58 <754J

59 (761)

60 (762j

yt-

61 (764)

69 (770)

62 (765)

X
3.

63 (769i

; I

65 (773) 66 (774) 67 (771)

64 (,772/

6S ,768)

70 (775) 71 (776) 72 (777) 7J (779)

I'.RISIOL.
The numbers in brackets arc those of the <.l)jci ts from which the marks are taken.

Plate 96

}| -3 112 LOWESTOFT.

74 (790) CAIGHLEV

Liavcnuor!

LONOPOPT

78 (791)

7<^ 803

77 (800.

Sbode

«o (802)

76 (792) Ukcektain.

^••oHImm « C:

<Si 803a)

STAFl'ORDSHIkE.

(804) 83 (805)

NAXTCiARW.

84 ('808

85 (809)

SWANSEA.

. i

86 (795 J

88 1,796)

87 (794J

SWINTOX fRoCKINGHAM).
I'lie numlxTS in brackets are those of the objects frnm wliiili the iiiaric- an- taken.

PLEASE DO NOT REMOVE
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UNIVERSITY OF TORONTO LIBRARY

M085

VM2

1915

V.l

C.l

ROBA

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Full text of "Catalogue of English porcelain, earthenware, enamels, etc. : collected by Charles Schreiber ... and the Lady Charlotte Elizabeth Schreiber and presented to the Museum in 1884"

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